the AudioKey REVIEWS! Magazine CANADA - SEPTEMBER 2023 - ISSUE 4

AudioKey

SIMAUDIO 250i V2

INTEGRATED AMPLIFIER

BAETIS AUDIO

REVOLUTION X4

STREAMER

SILENT ANGEL

RHEIN Z1 PLUS INTERNET STREAMER

SEISMION REACTIO 541

ISOLATION PLATFORM

!

AND MORE…

MEZE AUDIO

Aries Cerat

ASR Audio Pink Faun

Rockna

Inakustik

Vicoustic

Tri Art

Horns by Auto Tech

Iso Acoustics

Music is art, art is music.

Edward Hopper - Rooms by the Sea

104 108 110

THEATER

RECOMMENDED

COMPONENTS

IN THE NEXT ISSUE REVIEWS ON OUR WEBSITE

Front Inside Cover: Imogen Cunningham, Flowers

Back Inside Cover: Paul Cezanne, Gardanne, 1885-1886

The Other Art. It is my belief that the artist and the musician are not only creatives, but they access heart and soul and experience, perhaps, in the selfsame ways. My own love for art and music are inseparable. And so art, music, and those things which facilitate the music, shall share theses pages.

MUSIC REVIEWS

Copyright AudioKeyReviews 2023

VIDEO REVIEWS

LETTERS TO THE EDITOR - SEND HERE

The Last Platform You’ll Ever Need

It has been said that the journey of a thousand miles begins with but a single step. I believe it was the Chinese philosopher Confucius who first uttered those words. Likewise, I believe that the journey of discovery begins with but a single step, a single decision towards a goal or lifelong desire in one’s life.

That single step began for me, with regard to AudioKeyReviews.com, with the review of the Meze Audio Rai Penta In-Ear-Monitor (IEM). The Rai Penta delivered what was my very first discovery of a truly highfidelity IEM and how remarkably good they could be. There would be others that were themselves singularly remarkable. I was and remain astonished.

My prior experience with IEMs was with the “came-with” versions that were really along for the ride, but not the high-fidelity enjoyment. The difference was marked, eye-opening, and a decided initial discovery, coming from decades-long adherence to two-channel stereo and nothing else. That experience led to a gathering of a few truly exceptional IEMs, Vision Ear’s EVE, Obravo’s EAMT-2C, and its RA-C-CU IEMs.

As a result of that experience and a good number of others, I have had numerous discoveries across well-known territory—two-channel audio,— streamers, a growing wealth of substantive tweaks, some rather fantastic wires and cables, which continue to deliver epiphany after epiphany, and incredible loudspeakers. What wonderful discoveries they have all been.

In this issue, you’ll find some rather outstanding products—an electrified isolation stand that provides stability down to 1.5Hz(!), a follow-up on a loudspeaker that has easily earned our most difficult award to obtain—the Breakthrough Award—an outstanding cable loom from which there will be no going back, and several others.

I do hope that you enjoy our September 2023 issue.

Sincerely,

K.E. Heartsong Editor-in-Chief

THE CREW

Publisher/Editor-in-Chief

K. E. Heartsong

Managing Editor

Kathe Lieber

Senior Editor(s)

Andre Marc

Gérard Rejskind

Reviewer

Charles Brown

Andre Marc Columnists

Kathe Lieber

Gérard Rejskind

HermanMiller

SEISMION REACTIO 541

By K. E. Heartsong

As I have mentioned in several recent reviews, I am at the point where both my reference systems —two-channel stereo and headphone—are pretty much dialled in. This leaves me in a very good place to review all manner of equipment with regard to these reference systems to determine their relative “placement” or award status or their returnto-sender designation. That said, I am now at the stage of fine-tuning said systems toward, if possible, ever greater transparency, resolution, detail resurrection, quiet— vanishing low noise floor—and musicality. And this has led to an ongoing discovery of “tweaks.” Tweaks?

“Tweaks are things that can ostensibly improve the fidelity—the overall sound —of your audio system for relatively little money. Tweaks can be wires or cables or risers that keep cables above the floor.

Tweaks can be isolation platforms or stands or isolation feet or pucks or cones, etc…”

Indeed, I have found buried treasures during this phase of reviews in all manner of tweaks, some of which have been long forgotten, though they remain incredibly relevant; some, born of brand-spanking-new technology, that have been eye-opening; and some that took the proverbial mousetrap and brought things into the 21st century.

The “tweak” that I’m reviewing today is of the latter variety—a mousetrap or, better said, a long existing product whose inventors conducted intensive research and development based on the preservation of, well, life (see below).

The product currently under review is the SEISMION REACTIO 541 “electrified” isolation platform. And if you thought your big buck, non-electrified

SEISMION REACTIO 541

isolation platform or amp stand was, well, “all that,” a recalibration is definitely in order.

REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start with how the equipment actually sounds and not the process of physically “undressing” it and/ or laying out its various accoutrements, specifications, etc. Think of this review, then, as a non-linear movie—Memento, Kill Bill, Pulp Fiction, Eternal Sunshine of the Spotless Mind, The Queen’s Gambit, In the Shadow of the Moon, etc.—that likewise starts at the end and winds its way to the beginning.

THE SETUP

The SEISMION REACTIO 541 isolation platform would be placed in the reference two-channel system (see below) and beneath the LYRIC AUDIO Ti 100 MkII SET integrated. As previously mentioned, the reference system is of exceptionally high transparency, resolution, startling dynamics, and with the Audionet combo power (200 Watts) and mesmerizing liquidity with the Lyric Audio Ti 100 SET Integrated (20 Watts). The Vivid Audio Kaya 45 held down speaker honours over the entire course of the review.

I had received the SEISMION REACTIO 541 from Jonathan Badov of Sonic Artistry, whom I’d met in Toronto. We would talk again at the Montreal Audiofest

and then again at AXPONA 2023. Jonathan is that vanishingly rare breed of gentleman who actually does what he says he’s going to do. We got along very well, and I was excited to review the SEISMION isolation platform. Given Jonathan’s explanation of how the SEISMION came about, my excitement grew.

“In touring the laboratories here in Ontario in the mid-1990s, I saw that the laboratory operators and technicians were using some sort of base under the electronics in the fertility clinic. I inquired what they were and the reasons for their use. The technicians told me that they were not able to get consistently meaningful or reliable results from the equipment without isolating them from the building. General vibrations, foot falls, and any other types of movement would upset the machines and results. If someone closed a door abruptly, they could lose a full day’s work. It was further explained at that time that isolating equipment below 3Hz, lower than the natural frequency of the earth, allowed for consistently meaningful results from their atomic force microscopes. Less than this and the images from the microscopes would consistently be unstable and thus unfocused. Another way of saying this is that the preservation of life hung in the balance.”

—Jonathan Badov, Sonic Artistry

THE SYSTEM

Two-Channel Reference System

• Grimm Audio MU1 Streamer

• Silent Angel Bonn NX Network Switch

• Silent Angel Genesis GX Clock

• Bricasti Design M1 Special Edition DAC

• Mola Mola Tambaqui DAC

• Audionet PRE G2 Preamplifier

• Audionet AMP Monoblock Amplifiers

• LYRIC Ti 100 Single-Ended Integrated

• SEISMION REACTIO 51 Isolation

Platform

• Vivid Audio Kaya 45 Speakers

• Kubala Sosna (KS) Elation/Emotion Cable

Loom*

• TORUS AUDIO AVR ELITE power conditioner

THE SOUND

I would again keep things simple in analyzing and reviewing the SEISMION REACTIO 541. This meant very familiar music that was well recorded and represented a mix of genres. I utilized:

• Andy Bey’s American Song (Savoy)

• Dave Brubeck’s Time Out (Columbia)

• Eiji Oue’s Stravinsky (Reference Recordings)

• Elina Duni’s Partir (ECM)

• Joan Shelly’s Joan Shelly (No Quarter)

• MORIMUR album (MORIMUR, ECM)

• Ólafur Arnalds’ Island Songs (ECM)

• Sophie Hunger’s Rules of Fire (Two Gentlemen)

• Vangelis’ Blade Runner Soundtrack (East West UK)

• Voces8’s LUX (Decca Music Group)

Once the music began, the REACTIO 541 ran roughshod over the various vibrations/reverberations, which had moments before run amok across my highly touted two-channel reference system, that I did not imagine were even there. How was this possible, you ask?

The first thing I witnessed across the bass section part of the review was that with the SEISMION REACTIO 541 in place, the bass was now easily the tightest, most effortless, and deepest that I had heard to date from my reference setup. There was greater transparency and resolution, and timbral shadings were much easier to discern. And given the Vivid Audio Kaya 45’s outstanding way with bass reproduction, especially given their size, this was very unexpected.

As I continued listening, it became apparent that the entire bass range was now more explicit and easily able to render every plucked, twanged, slapped bass string, with greater detail, differentiation of tone/timbre, and further, it was more natural, more real, more present. “So,” I thought to myself, “this is how the remaining vibration and resonance

had been hindering my reference system.” I imagine that the replaced amp stand stood by in stark embarrassment at what it had been charged to do but failed to do. Its failure had been corrupting the music.

The pieces, however, quickly came together. The REACTIO 541 did in fact eliminate vibration and resonance to a far better degree than had the previous “unelectrified” isolation platform. And in doing so, the REACTIO 541 had replaced a “quiet” background or low noise floor with an immaculately black-quiet background or a vanishingly low noise floor. This resulted in the freeing of copious detail and insight previously below the noise floor, which allowed my reference system to excel to a level that I had not imagined or thought possible from an isolation stand. Amazing!

With the SEISMION REACTIO 541 in place, timbral shadings, subtle and otherwise, were fully fleshed out, as was bass weight and impact. The low bass rumble apparent on Eiji Oue’s Stravinsky (Reference Recordings), Magdalena Kožená’s French Arias (Deutsche Grammophon), and Eiji Oue’s Rachmaninoff (Reference Recordings) was not only more apparent, its dynamic punch was more immediate and visceral and potent via the Kaya 45’s bass drivers. Also apparent with the various tympani (Stravinsky, Rachmaninoff) was their internal and external reverberations: there

was greater distinction between the tympani, and the contact between mallet and drum was greatly pronounced via all the now relevant information. A wealth of detail that had been previously hidden beneath a reverberant noise floor was free.

When laying out comparative gains, due to the service of the REACTIO 541, the “midrange” section may well have been best served, as there was undeniable magic here. Perhaps the finest micro-details and the fine details responsible for articulative nuance, exacting timbre/tonality necessary to evoke in-room palpability had all been affected by the vibration. The SEISMION REACTIO 541 did away with the various detailsmothering vibrations, micro and otherwise, and the results were astonishing!

If you, like me, are a fan of vocals then, like me, you may well listen to 9, 10, 11 vocal albums in a row and shake your head at the natural, lifelike tone, timbre, and palpable immediacy of the voice. I do not believe there’s been a time when I’ve listened to more vocal recordings than I am now. And I have a witness.

Dick Diamond of GTT Audio was in for a listen, prior to helping a new retailer with a speaker install and a fellow reviewer and friend for an equipment setup. Suffice to say that he sat and listened for quite a while, as I had done, to voice after voice after voice recording. When Dick was ready to leave for

said appointments, reluctantly it seemed, he said, “Wow, the vocals are incredible.” And the majority of the equipment he was very familiar with. He was not familiar with the SEISMION REACTIO 541.

In a prior review, I used the analogy of a young man who takes a ride at the carnival on a machine that literally shakes you up and keeps you shaking, though mildly so, after the ride has ended. As the young man leaves the ride, the carny asks him to repeat a phrase that he was asked to say before he boarded the ride. The young man, still shaking imperceptibly from the ride, repeats the phrase. The carny smiles and hands the young man a recording of his voice before and after the ride. What becomes immediately clear to the young man is that his voice is quite different after the ride, as he is still apparently shaking, however minutely (see your current ‘isolation’ platforms).

The “treble” section via the placement of the SEISMION REACTIO 541 witnessed its own rise and benefits, with greatly diminished vibration that was likewise very uncanny. The treble highs were in fact heard to float, now unencumbered by artifice— noise, vibration, unwanted resonance, etc.

There was now a sweetness of high treble notes that carried a heady disdain for stridency, harnesses, breakup, etc. If you can imagine yourself in a relatively small space listening to a very accomplished string

quartet, perhaps one of the violinists has on loan a Stradivarius or a Guarneri, and the space is naturally treated for sound.

Now imagine that recording—Akiko Suwania, J.S. Bach Sonatas and Partitas for Solo Violin (Universal Music) and the tone/ timbre of the “Charles Reade” Guarneri del Gesú violin via Akiko’s exceptional skill. Yes, the detritus that would normally “inhibit” its natural rendering is now not there. Perhaps this provides an idea of what, via a well curated reference system, a SEISMION REACTIO 541 in place, and a superb recording, you are most likely to hear. I have heard that exact recording before and after the SEISMION REACTIO 541 and, again, the sweetness, the profound clarity, the ethereal nature of the notes that rise from that violin and Akiko’s playing is truly sublime.

Perhaps it is the vastly lowered noise floor, the incredible diminishment of vibration to 1.5Hz(!), far below the natural frequency of the earth, that ushers in the intense quiet, the transparency and resolution, the detail, the expanded soundstage, once all buried comfortably beneath the preexisting noise floor.

The SEISMION’s distant cousins— other isolation platforms of any and all makes, not electrified—should be very worried. They should be worried because their like has never, in my experience, having owned some of the most renowned

equipment, ever provided such a substantial lowering of the noise floor.

CONCLUSION

Game changer! If you are wedded or bonded to your “reference level” isolation platforms via long-standing ownership or relationship/ loyalty to a manufacturer, then do not try the SEISMION REACTIO isolation platform. It will, at the very least, hurt your feelings, as you’ve not had what you’d thought you had, but something less.

The SEISMION REACTIO 541 isolation platforms are NOT your unelectrified, passive isolation platforms, not even close. What they represent is the next “quantum shelf,” if you will, that will undeniably give you more of your music, regardless of how “reference” your current system is believed to be. It’s not. There is vibration and resonance even now coursing through and haunting your music to various degrees as I write (that is not coursing through mine).

What the cumulative result of using a SEISMION under several components in a given system is, I do not know. I can only guess at the resulting effects. And that, dare I say, is a daunting realization—If one SEISMION can so free the music from all bounds while virtually eliminating vibration/ resonance, then a series would be mindboggling!

Since when do tweaks receive DIAMOND AWARDS? When they absolutely deserve them, for lifting the aforementioned reference system to an entirely new “reference’’level. We happily award the SEISMION REACTIO 541 component our DIAMOND AWARD for excellence.

Pros: A supposed “tweak” that will lift your reference system, regardless of price, to the next “quantum shelf” or “reference level,” which will free your music no end.

Cons:…

info@seismion.de

SEISMION REACTIO 541 $5,995

DISTRIBUTOR

Jonathan Badov

Sonic Artistry, Toronto/Aurora

By Appointment Only

MOON 250I V2 INTEGRATED

By Charles Brown

MOON 250I V2 INTEGRATED

The MOON 250iV2 Integrated Amplifier made in Quebec, the product under review, is an update of the company’s 2008 250i Integrated Amplifier, an amp that has garnered steady and enviable sales since its inception. With the updated 250iV2, we now have a moving magnetic phono stage

mounted and of a new superior generation. In combination with a new printed circuit board, the overall improved sound, notes Dominique, “…can be clearly heard.” When you add in the heightened internal shielding to reduce field effects from the power supply section to the main amplification stage, the noise reduction benefit and sound

unavailable in the 2008 model. And all of this for $2,900 CAD.

In a public interview, Simaudio’s Product Director, Dominique Poupart, describes the updated MOON 250iV2 at some length as a continuation of the minimalist design of the 250i, with a redesigned main board and, as mentioned earlier, a moving magnet phono section. The basic circuit topology is similar to the original, including the same proprietary MOON output bipolar transistors; however, the low power transistors in the circuitry are surface-

concerted goal of producing the best amplifier for the money. I believe they have done this.

I sit in my perfectly molded man cave, triangulated as perfect as perfection, and I begin to listen to Honeck’s Tchaikovsky (Reference Recordings). The stillness of the opening strings and translucent clarinet are presented beautifully; the secondary line of violas and cellos inches forward and is heard. The second statement is bolder and bigger. Honeck allows his double basses to be bold and forward and they are perfectly carried by

Imogen Cunningham

MOON 250I V2 INTEGRATED

the 250iV2. By the time the strings take over the theme for its third entrance, we have the army step in, with the brass boldly proclaiming their harmonic weight. The timpanist is so prominent in this recording

from the Pittsburgh string section as to bring forth tears. What a sound. What a sound!

With the 250iV2, I am discovering an ease of presence, utter clarity, and transparency that powers my Dundee 6

balance in the presentation from the 250iV2 is outstanding; the midrange is exceptional and the bass range a full and round sound. I love it. The colours of the woodwinds are spectacularly represented, from the midrange clarinets and upper treble flutes to the upper first section violins. The pizzicato of the strings is a visceral fizz of tactile sonority, and I have found an electronic and performance definition of sheer beauty. What stunning warmth is displayed by the M250iV2 in the ending of the first movement; the depth and hangdog despair that Tchaikovsky has written for the double basses and cellos at the end is so powerfully and perfectly transcribed

I am listening to. What I am hearing is more than 50W per channel; as I turn up the volume, a sound image opens up in front of me, creating a full bass, midrange, and treble integration, with no change in balance between ranges, that stays clear as a bell without distortion. All of which is very impressive.

Tchaikovsky’s Symphony No. 5 is streamed through Apple, Mytek HiFi Manhattan, MOON 250iV2, and out through the dual-concentric Dundee 6 horn bookshelf speakers. The stereo imaging is outstandingly wide, with the inner detail of the orchestra marvellously highlighted. The

hushed languishing melody on clarinet at the beginning of the first movement is the quietest opening I have ever heard. The clarinet solo is silk from a distance as it begins and gains presence through the brilliant shaping of melody and the harmonic background. The M250iV2 presents this pianissimo opening with whispered fullness, as the pianissimos are marvellously exaggerated throughout the recording. The M250iV2 provides (as the music requires) exceptional tone/timbre and a harmonic fullness that is outstanding, raising the hair on my arms. The M250iV2 represents the orchestra with a true sonic authenticity that leaves me speechless for this price range. The M250iV2 dynamic range is exceptional and handles the full orchestration beautifully, distortion-free, and with outstanding clarity. Many engineers believe that ideally, you want an amp that has an extremely low output impedance, which means a high damping factor so that any differences in impedance in the speakers will not affect the tonality of the amp’s sound. Then, as the step-up from their 100 series, MOON’s 250iV2 integrated amplifier is an unqualified success for $2,900 CAD. I can’t imagine what electronic beauty you could find in their topflight series—the 800 series. But for the average Joe on a budget, this amp is a mustbuy. The integrity of this 40-year-old

company, which employs local labour, and its inherent striving for excellence make the MOON 250iV2 Integrated Amplifier a treasure.

As I play the final movement of Honeck’s rendering of Tchaikovsky’s Symphony No. 5, I gently lift the volume to 11:00 o’clock on the volume dial and see and hear the orchestra in utter clarity bring forth its shattering presentation, born through the electronic magic of this amazing integrated Amplifier by Simaudio. A must-buy!

The MOON 250iV2 is outfitted with:

• 6-line inputs

• 1-3.5mm jack

• 1-MM phono stage

• 1-6.25mm headphone socket

To the right of the spartan front display is a large volume knob with a red insert light to indicate volume level, and all control inputs —CD, DAC, AUX—are easily accessed by silver half-moon buttons, simple and easy to the touch.

THE COMPANY

Moon Audio AKRM/C

Brassaï - Stairs

GRACE NOTES

ELLA AND LOUIS AND ALL THAT JAZZ

Like our esteemed Editorin-Chief, I have formed the pleasurable habit of listening to a great deal of vocal music. Lately, that’s meant listening to two stellar twentieth-century artists whose recordings never seem to grow old: Ella Fitzgerald and Louis Armstrong. Their unmistakeable voices permeate my musical thinking—and yours too, no doubt. Both left impressive discographies, and they’re responsible for way too many of the ear worms that seem to flit across my mind at 3 a.m.

I guess what everyone wants more than anything else is to be loved. And to know that you loved me for my singing is too much for me. Forgive me if I don’t have all the words. Maybe I can sing it and you’ll understand.

—Ella Fitzgerald

Armstrong and Fitzgerald both enjoyed decade-spanning careers, singing solo, with other artists, and later together. Both

By Kathe Lieber

became international icons in multiple genres of jazz and popular music—big band, swing, Blues, bebop, traditional jazz, sultry ballads—you name it, they sang and played it. Of course, they had great material to work with. The lyrics they

interpreted, from the likes of Cole Porter, the Gershwins, Irving Berlin, and Rodgers and Hart, were, by turns, clever and tender, and set to unforgettable melodies (the aforementioned ear worms). For their part, Porter et al. were equally thrilled to write for artists of such a high calibre. As Ira Gershwin said, “I never knew how good our songs were until I heard Ella Fitzgerald sing them.”

Armstrong and Fitzgerald produced three official collaborations in the 1950s: Ella and Louis (1956), Ella and Louis Again (1957), and Porgy and Bess (1959).

There is two kinds of music, the good, and the bad. I play the good kind.

—Louis Armstrong

Paul Cezanne - Young Italian Girl Resting on Here Elbow

GRACE NOTES

Mid-century, racism continued to rear its ugly head for Black artists and ordinary citizens alike.

Legal and de facto segregation in the United States and elsewhere meant that even the most famous Black artists had to stand up and challenge the status quo. In 1957, Armstrong famously criticized President Eisenhower over segregation, saying, “The way they are treating my people in the South, the government can go to hell.”

Sometimes white artists had to intercede. Marilyn Monroe promised to sit at a front table at the Mocambo club every night as long as Ella was booked there. Predictably, the press went wild, and the Mocambo gig proved to be a turning point in Ella’s career. Monroe and Fitzgerald

Ella Fitzgerald, 1917-1996

• 13 Grammy awards

• Over 40 million albums sold

• Known as the First Lady of Song and the Queen of Jazz

• Awarded the National Medal of Arts in 1987

• 26 performances at Carnegie Hall over the course of her career

remained friends until Marilyn’s untimely death.

LADY ELLA SPREADS HER WINGS

Ella had an unstable childhood, culminating in being sent to the New York State Training School for Girls at the age of 15, after her mother’s death. She was considered “ungovernable.” There was a school choir, but she did not belong because it was all-white. Luckily for music history, she was able to run away, and wound up as a street urchin in Harlem. She originally wanted to be a dancer, but all that changed when she took to the celebrated stage of the Apollo Theater in New York to sing. Within a year or two, she was getting regular gigs with Chick Webb and his Orchestra.

Ella’s first recording, Love and Kisses, was released on Decca in 1936. Two years later, she recorded A-Tisket, A-Tasket, which sold a million copies, hit number one, and spent 17 weeks on the charts. Twenty-one-year-old Ella Fitzgerald had arrived.

Among many other albums, Fitzgerald recorded a seminal 19-volume series of songbooks. She attracted attention for her impeccable diction, vocal intonation, and her uncanny ability to improvise, especially in her

scat singing. Fun fact: Fitzgerald (along with Lena Horne) was considered for the role of the café entertainer in Casablanca. (The role eventually went to Dooley Wilson, who sang As Time Goes By.)

Ella continued to perform and record tirelessly even after her health declined. She had a quintuple bypass in 1986, and eventually, serious circulation problems led to the amputation of both legs below the knee. After her death in Beverly Hills in 1996, the traffic was stopped to let her cortege pass through. Outside the Hollywood Bowl Theater, the marquee read, “Ella, we will miss you.”

SATCHMO AND HIS LEGENDARY LIPS

Born in New Orleans in 1901, Armstrong was raised by his mother in a dodgy neighbourhood and had to drop out of school in fifth grade to go to work. Hired to do odd jobs for the Karnofsky family, he had his first break: they gave him the money to buy his first instrument, a cornet, for the princely sum of $5. (He only started playing the trumpet in 1926.)

Like Ella, Louis served some time in

Louis Armstrong, 1901-1971

• Nicknames: Pops, Satchmo

• Jazz singer, composer, band leader, and trumpet virtuoso

• Appeared in 30-plus movies

“juvie.” Sent to the Colored Waifs’ Home for Boys when he was 11, he perfected his playing on the cornet and set his heart on becoming a professional musician once he was sprung from the home. Joe “King” Oliver took the promising kid under his wing and the two started playing and making records together in 1923. Louis’ second wife, Lil Hardin, the pianist in Oliver’s band, encouraged him to form his own band. Soon he was making recordings under his own name, and his back-up band, the Hot Five (later the Hot Seven), made records that highlighted Armstrong’s improvisation on the trumpet and scat singing. His recordings were influential, turning jazz from a genre based on ensemble playing to a showcase for talented soloists.

• Composed many songs that became standards

• Performed an average of 300 concerts around the world every year through into the 1960s

He began touring in the 1930s and continued for the rest of his life, at great cost to his health. He suffered from painful scar tissue on his “chops”—the famous Satchmo lips—from playing the trumpet with great force.

The 1950s and ‘60s saw Armstrong touring Africa as an official cultural diplomat for the U.S.A. The State Department-sponsored program was designed to improve America’s image overseas by sending jazz musicians and other entertainers on goodwill tours.

He even managed to beat the Beatles. In late 1963, Armstrong and his All Stars recorded a little ditty called Hello, Dolly! for a Broadway musical by the same name. The song knocked two Beatles songs off the top of the charts at the height of Beatlemania and made Armstrong the oldest musician in American history to have a number one song.

Queens, New York, on July 6, 1971. His house is now the site of the Louis Armstrong Museum.

DISCOGRAPHIES

If you were hoping I’d recommend a short list of “must-listen” albums, I’m sorry to disappoint you. Any attempt at such a list would occupy this entire issue. Consulting the usual suspects online will bring up many tracks for your listening pleasure.

I will say, however, that while researching this article, there were a few songs I played over and over again:

• Autumn in New York

• A Fine Romance

• Let’s Call the Whole Thing Off

• I Loves You, Porgy

• A Foggy Day

• They Can’t Take That Away from Me

Over to you… audiokeyreviewsCA.com

Perhaps his most beloved song was What a Wonderful World, released in 1967, which became a number one hit around the world. Touring had taken its toll on his health, however. He died in his sleep in

Vermeer - Girl with the Pearl Earring

Darren White - Morning Rain at the Bells

BAETIS AUDIO REVOLUTION X4

By K.E. Heartsong

Streamers are an interesting lot. Some would say that streamers are strippeddown computers freed of all the “noisy bits.” Others would add that, “Yes, the noisy bits are gone, but also added are some high quality bits, with a singular purpose—the

size, a name, and a sterling reputation. I have sent a few big name, very well-known, highpriced streamers packing of late. And I have kept a few relatively bereft of reputation and name, etc. that have proved quite remarkable. This brings me to a small Canadian company

delivery of a pristine signal that is virtually free of noise, jitter, and with reduced electromagnetic interference, etc.”

Well, I have encountered an array of streamers that have adopted the former approach, the latter, or a combination of both. Suffice to say that there have been “wins” on all sides and “losses” as well. This discovery, in the end, appears to point to how well one actually engineers the streaming component, regardless of the approach. And some, despite their size, their lack of an industry name, or their lack of so-called reputation, can apparently do a far better job than those with

I met Joe Makkerh at the Montreal Audiofest in 2022, I believe. The first thing I noticed about Joe is how genuinely nice and how kind he is. And given Joe’s academic bona fides—PhD cell and molecular biology, MBA—his humility is quite a refreshing surprise and, indeed, rare. Suffice to say that I wanted to work with him immediately.

It would take a bit of time to arrange for our first review of a Baetis product. The trials and tribulations and dislocations that beset us all in the preceding years had turned upside

based in Montreal, Baetis Audio, run by Joe Makkerh.

Vincent Van Gogh - The Pink Peach Tree

down, at least for a while, parts procurement, supply chains, etc.

• Blue Hawaii SE Electrostatic HPA

• Kubala Sosna Cables/Wires/Power Cords

However, when the tumult diminished and normalcy began its slow, tentative return, I would have a Baetis Audio Revolution X4 streamer ($6,000) in-house to review. And so began the journey with a no-name, nononsense, “moderately-priced” streamer from a small Canadian manufacturer run by a consummate gentleman (of whom there are few in the audio industry).

17

REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start with how the headphones actually sound and not the process of physically “undressing” them and/or laying out their various parts, specifications, etc. Think of this review, then, as a non-linear movie—Memento, Kill Bill, Arrival, Eternal Sunshine of the Spotless Mind, etc.—that likewise starts at the end and winds its way to the beginning.

THE SYSTEM

• Baetis Audio Revolution X4 Streamer

• Silent Angel Rhein Z1 Plus Streamer

• Silent Angel Forester F2 Linear Power Supply (LPS)

• Silent Angel Bonn N8 Network Switch

• Mola Mola Tambaqui DAC

• Mojo Audio Mystique X SE DAC

• Dan Clark CORINA Electrostatic Headphones

• STAX SR-009S Electrostatic Headphones

• Black Cat TRØN Signature Digital Cable

• TORUS RM20 Power Conditioner

THE SOUND

The first thing that immediately grabs you is the Baetis Audio Revolution X4's naturalness, its shoulder-dropping analog quality, its sweetness, engaging you immediately. Did I mention its naturalness? Yes, and it is there to a degree that spells out refinement and nuances, air and ambiance, which few components embody. The lack of these and its, well, “digital on parade,” which speaks to a marked diminution of naturalness, nuance, and refinement. In the end, this can result in soul-sucking transparency and resolution and often little else. Have you ever attended a concert or musical event where the music being played was soul-sucking and entirely un-engaging?

I have attempted to review “digital on parade’’ components, be they streamers or DACs, etc. You’d wonder how their respective voices could, in truth, engage anyone. And here we experience the very subjective nature of this musical/audio pursuit. This type of “voice” is quickly eschewed at AKRMedia in favour of the voice that synthesizes both technical ability and engagement/musicality. People do indeed have a preference for bitter dark chocolate, exceedingly sweet milk

chocolate, or “interestingly” flavoured white chocolate. Go figure.

The Baetis Revolution X4 proved itself exceptionally talented at rendering transparency and resolution, whole cloth, while zealously unearthing detail regardless of where it attempted to hide. Perhaps in the Revolution X4’s case this was just the signal being exceptionally well preserved, free of artifice, with greatly reduced jitter, etc. Regardless, its abilities gave additional insight and dynamics, life and sublime naturalness to recordings that compelled me to listen for many hours. A component that can do this despite a reviewer’s looming Sword-ofDamocles deadlines is very rare indeed!

In comparison, the Baetis Audio

performs incredibly well. The Baetis Audio Revolution X4 and Mola Mola Tambaqui, however, were remarkable together, coming just a hair behind the Grimm Audio MU1 ($12,500) and Mola Mola Tambaqui duo, both DIAMOND AWARD winners.

The Baetis Revolution X4’s volumetric cube—its soundstage—via the AES/EBU or SPDIF configuration with Mola Mola Tambaqui, Blue Hawaii Special Edition HPA—projected beyond the plane of the various electrostatic headphones, which was a first and quite astonishing. That is saying something, as the reference electrostatic headphone configuration has always provided an exceptional soundstage in terms of great width, depth, height, and layering. And this

dimensional, more natural than the Mola Mola Tambaqui, though streaming is the Tambaqui’s secondary mission. Given that, it must be said that as a streamer the Tambaqui

come from. Ultimately, it was at a layer of the soundstage that happened to fall well beyond the plane of the electrostatic headphones.

BAETIS AUDIO REVOLUTION X4

And to date, it has been an exception tied solely to the Revolution X4. Suffice to say that staging—positioning, separation, layering—with the Revolution X4 was outstanding. mono blocks. If the goal in the design was no frills sonic purity, it has been achieved with flying colours. Highly recommended.

BASS

I began the Bass review medley with Dave Holland’s “Emerald Tears” (Emerald Tears, ECM). Once the music began, the “dynamic contrasts” between the various bass notes was the first descriptor that came to mind. It would be followed by superb tonal/timbral shading, generous inner-detail, and tight well resolved bass notes. “Emerald Tears” seems a rather sparse piece of music, though a good reference system will quickly ferret out the subtleties and intricacies that most systems cannot see. The Baetis Audio Revolution X4 rose to the occasion, unveiling micro-detail and the most subtle tonal shadings, often obscured or buried beneath the noise floor.

Malia and Boris Blanks’ “Celestial Echo” (Convergence, Boutique) then opened with daunting stage depth, sumptuous tonality, and a mad, energetic “echo” wrapped in a pristine, black-quiet envelope. Malia’s gravel-esque voice at center stage, her ethereal tone/timbre are captured to great effect. There is a whole-cloth rendering via the

Revolution X4 that brings whole-cloth fullness, with power and nuance and engagement.

MIDRANGE

I cue Khatia Buniatishvili’s Schubert (Sony) via the Baetis Audio Revolution X4 and the movement comes alive with superb resolution, a sweetness, refinement, and nuance that much more expensive streamers have been unable to match. The Revolution X4 renders a natural musicality and a profound sense of engagement that weaves its magic through the entirety of my midrange vocal collection—Joan Shelly, Andy Bey, Kandace Springs, Elina Duni, Sophie Hunger, Malia, etc.

Everything is there: there is no part of the performance, any performance, that is not summoned, that does not participate fully, regardless of whether it lies in the most expansive soundstage or the least. Transparency, air, ambiance, detail are consistent players, and when coupled to the Revolution X4’s natural way with music, immersion is immediate and long-standing. There were many moments when I sat mesmerized by the performance, the music. Understand: I have had all manner of equipment reviewed through the electrostatic headphone reference system—which is uncanny at getting to the truth of things— but the beauty of this performance is something new.

The Revolution X4 technical bona fides saw it again and again, bettering much more expensive, quite well-known streamers at multiples of its asking price. The differences were not at all subtle: they were in fact remarkable, and with vocals even more so. Splendid.

CONCLUSIONS

The Baetis Audio Revolution X4 brings a naturalness, an ease, and a sweetness to recordings that will have analog-lovers fully engaged while also providing the highfidelity technicalities—soundstaging, resolution, transparency, detail retrieval, etc. —for those long wedded to the evolving digital audio world.

The Revolution X4 is an outstanding digital streamer that I am certain believes itself to be a synthesis of both digital and analog. At least, that is what it has shown me as it has served my musical collection and every genre therein as such.

In truth, I had been a holdout on digital as my absolute and only means of rendering/ reviewing music/audio components. I had planned with much deliberation and research to reassemble a dedicated analog system to both enjoy and review other analog components. I am no longer searching for that which is analog, as my assembled systems— two-channel and headphone reference systems—have fully come into their

own as headed by the best of the best streamers. The Baetis Audio Revolution X4 entirely cements that perspective, and with its sibling—Baetis Audio Reference X4 Mingo —soon in for review, I imagine it may well call Casa Heartsong home.

The Baetis Audio Revolution X4 easily wins our Golden Key Note Award for exceptional musicality, high fidelity, engagement, and superb naturalness that few other streamers, at any price, have been able to match.

Pros: Natural to no end and beautifully musical, while confidently ticking off all the audiophile technical check boxes. Exceptional preservation of the musical signal.

Cons: None.

Paul Gauguin - Nature morte aux pommes, (1890)

THE OVERVIEW

By Gérard Rejskind

HIGH FIDELITY AND HIGH FREQUENCIES

Music systems have difficulty reproducing sounds at the outer edges of the audible spectrum. We know that very low frequencies suffer from acoustic phenomena, especially resonances, but high frequencies present difficulties too. It turns out that some common components filter out the very sounds they are designed to reproduce.

One of those is the loudspeaker, and—in a multi-driver system—the tweeter. Ideally, the tweeter should have flat response out to beyond audibility, but chances are it doesn’t. And if it does, you might wish it didn’t.

A loudspeaker, or a loudspeaker driver, is simply a device to convert an alternating

current, the analog of the audio signal, into linear (back and forth) motion. It is much like an electric motor, though the motor transforms the current to rotary motion. The most common way of accomplishing this task is suspending a coil carrying the alternating current in a strong magnetic field, usually that of a large magnet. The coil is attached to a speaker cone or a dome, and moves it in accordance with the music signal. The problem, as we will see, is the coil and the way it handles high frequencies. The coil is known to electrical engineers as an inductor. This useful device, used in many electrical and electronic devices, has a peculiar property. Its impedance, which limits the transmission of alternating current, varies with the frequency of the music signal.

Paul Klee - Highway-and-Byways,1929

As an example, let’s suppose the inductance of our tweeter is 200 µH (micro henries). At a frequency of 100 Hz, the coil’s impedance is a nearly negligible 0.13 ohms. That’s a low value, but the tweeter won’t be called upon to reproduce such a low frequency. With a 5 kHz signal, the impedance rises to a much higher value, 6.28 ohms. At a frequency of 20 kHz, usually taken as the limit of audibility for a young listener, the impedance rises to 25.12 ohms. Considering that the typical loudspeaker is rated at an impedance of between 4 and 8 ohms, we can see the problem. The tweeter is blocking off a significant portion of the music.

Is there a way around this problem?

We can assume there must be, since most speakers have a response that goes to at least 20 kHz. The simplest remedy is the crossover network, which separates the high from the low frequencies and sends each to the appropriate driver. The very simplest crossover consists merely of a capacitor in series with the tweeter. That is the strict minimum means of protecting the relatively fragile tweeter from being burned up by the lower frequency signal. As it happens, the impedance of a capacitor is exactly opposite to that of an inductor: it diminishes as the frequency rises. Let’s say the series capacitor is rated at 0.5 uF (microfarads), its

impedance at 5000 Hz will be 6.37 ohms, and at 20 kHz it will be 1.59 ohms.

The capacitor and coil will have a combined impedance of 26.71 ohms. Problem solved.

But is it? With this combination of devices, or with a number of other crossover designs, there is a significant reduction of signal reaching the tweeter. It may then be necessary to reduce the signal to the woofer, and the designer’s problems are only beginning.

There is a possible shortcut, taken by many tweeter designers. All mechanical devices, including a tweeter dome, will resonate at a certain frequency. At the resonant frequency, the response will rise, or at least instruments will show that. It’s frequent, then, to tune a tweeter dome so that it resonates around 15 kHz. The whole response curve will seem to rise.

I use the word “seems” because the result is not pleasant. At its resonant frequency, the tweeter is storing energy. That energy is then released a moment later as though it were a new signal. That works well with test signals, which are generally unchanging, but with music the detail is smeared. Designers shouldn’t do that, but a quick solution to a complex problem can be tempting.

There are of course alternatives to the electrodynamic tweeter. The best known is probably the electrostatic panel, famously used by such companies as Quad and Martin Logan. Also famous is the AMT (Air Motion Transformer) tweeter, now used by several manufacturers, but originally patented by a company called Heil. * * *

However, tweeters are not the only devices affected by high inductance. Another is the phono cartridge. A magnetic cartridge is much like a loudspeaker, but it operates in reverse: it turns motion (caused by the stylus in a record groove) into an electrical signal that can then be amplified. The principle is the same, however. A coil, which is to say an inductance, moves within a magnetic field. The problem is the same too. The electrical signal is picked up by a coil, whose inductance filters out the higher frequencies. That is especially the case with a moving magnet cartridge, which has a small magnet mounted on the stylus cantilever, and a large fixed coil. As with the tweeter, the classic moving magnet (MM) cartridge has poor frequency response, masked by a cantilever designed to resonate at the upper range of the audible frequency spectrum. A system with such an MM cartridge and a resonating tweeter would

hardly deserve the term high fidelity.

For many years, the best cartridges used elements that were reversed. The stylus was connected to a moving coil, and the magnet was fixed within the cartridge body. The result was frequency response that could be much higher than the limits of human hearing without the support of spurious resonances and their attendant smearing. These MC cartridges remain popular for high-end systems, but they are not without disadvantages. The coil has low inductance, since it is small, but the signal voltage is correspondingly low. Such cartridges are often called “low output,” though a better term would be “low impedance.” The low voltage requires an extra stage of amplification, and as we know, more amplification means more noise and more distortion. An alternative is to place a transformer between the cartridge and the preamplifier. Unfortunately, the best MC transformers were hand-wound, and handwinding is a nearly extinct art nowadays. What’s more, MC cartridges have some difficulty in tracking certain grooves, and can be virtually unable to play certain dynamic recordings.

You might be tempted by what is called a “high output” MC cartridge. The moving coil is made larger and can deliver more voltage than the classic MC version.

The result is not entirely satisfactory. A larger coil means more inductance, and we are back where we started.

Are there alternatives to the MM and MC cartridges? Certainly, but they aren’t cheap. The best known is the moving iron cartridge, which may go by different names. The best known is the Decca/ London cartridge, which was introduced many years ago but continues to improve. For some time, there were piezoelectric cartridges, also known under the name of crystal cartridges. Most (but not all) piezoelectric cartridges are quite poor. Then there is the strain gauge cartridge, whose circuit is not unlike that of your weight scale. Such cartridges can sound very good, but…yes, they’re expensive.

At one time, I might have been tempted to say that there were no good MM cartridges. That is no longer quite true, thanks to the development of compact but very powerful magnets. A more powerful magnet means a smaller coil. The designer may sacrifice the top end of the frequency response, perhaps extending it to only 16 kHz. Few of us actually hear beyond that, and that small limitation is preferable to the scourge of smeared highs.

* * *

You may have gathered that, for a loudspeaker or a phono cartridge, there is

no perfect solution. And you would be right. No matter what technology is selected, a product may be excellent or not. That is where the skill and discernment of the designer come in.

It is vital for the designer to be fully familiar with the advantages of the chosen technology, but also its inevitable drawbacks. The task, then, is to get the most from the technology’s advantages while reducing, or at least concealing, the down sides.

The buyer of a music system needs to be aware of the tradeoffs that have been made. The question is not whether tubes are better than transistors or whether integrated amplifiers are better than separates, but whether the designer of the equipment you’re considering has made that equipment sound as good as it can.

Andre Derain -The Red Sails

MEZE ADVAR IN-EAR MONITOR (IEM)

By Andre Marc

Meze Audio has fast become a major player in personal audio, with their headphones and inear monitors becoming reviewer and enduser favourites. The company, founded in 2011, is based in Romania, and also has a loyal user base in the audiophile audio world. Founder and chief designer Antonio Meze has stated the company is determined to bring state-of-the art sound combined with they are well on their way to fulfilling that mission statement.

Meze Audio has a wide variety of products in their lineup. We received a pair of their Advar IEMs to evaluate. The Advar is a

premium single-dynamic driver IEM and is exceptionally well- made, with a classic style and painstaking attention to detail. Even the packaging is second to none, with the feel of a bona fide luxury product. As we unpacked the Advar, it was like opening up a box within a box that contained a fine Swiss watch. A pair of Advar IEMs retails for $699.

The first impression is that the been polished to resemble enamel. Near the base of the nozzle is a vent, and on the back of the nozzle is a bigger, more noticeable vent. The single driver the Advar uses is a 10.2mm dynamic driver. A beautiful 3.5mm

Tamara de Lempicka - Girl

jack-terminated MMCX silver-plated copper

I found the fit to be excellent, and several pairs of silicone tips are included. I also found isolation to be well above average. Perhaps not full-on noise cancellation, but there is a very good if not excellent seal from outside

Everything about the Advar experience is of the highest calibre, and the audio performance is no exception. An IEM with good dynamics, coherency, and resolution iswhat we seek. Indeed, the Advar has a very well-balanced, easy to enjoy character. We cycled through a large variety of

proved to be an excellent pairing, tonally and ergonomically. We also used the Advar with our iPhone with lossless files, and while mixing multi-track musical projects with various Tascam mixing boards.

between. One thing we can state up front is that we never experienced listening fatigue, even after hours of use.

TREBLE

High frequencies are clean and extended with tons of detail, but they did not seem

“bright” or forward to our ears. Essentially, the treble had great energy, but also great balance and smoothness. Cymbals were beautifully rendered, with no unneeded sizzle. The balance between the treble and midrange was virtually ideal. It can be quite jarring to hear disjointed transitions between highs and mids, and Meze has avoided this completely.

BASS

The Advar bass performance is quite natural and smooth, yet impactful. The dynamic driver's definition and control are satisfying. The Advar provides low-end punch while always keeping it under control. There is no bass spillover into other frequencies that we could detect.

There is also a nice low-end texture, and the ability to follow low-frequency instruments like bass guitar or cello top shelf. The mid-bass to midrange transition is super smooth, and the mid-bass and sub-bass balance is spot on. Overall, the Advar's bass performance was flawless for our taste, especially considering its price point.

MIDRANGE

The mids were in the Goldilocks zone, just right. The midrange is where most of the tones and timbre live in the music, and the Advar really latched onto this. It made voices,

strings, and pianos sound natural, smooth, and balanced.

The midrange of the Advar really had a clear, transparent, and detailed presentation, offering a highly melodic experience while also having superb resolution and great detail retrieval. In fact. the micro-detail resolution was quite remarkable. The Advar midrange ultimately is fluid, very natural, and to our ears sounded like a good pair of classic British BBC-style monitors.

SOUNDSTAGE

The Advar, with just one driver, provides excellent stereo imaging and instrument positioning, with very good sharpness and focus. It is not surprising that the Advar can even be used for mastering or mixing, as it is true to the source, with reasonable limitations and low colouration. The soundstage in general is quite satisfying, and panned instruments occupy realistic points in the mix.

TIMBRE

The Advar's timbre alternates between a tube-like warmth in the low to lower midrange and a palpable presence in the upper midrange to higher midrange. The end result is good accuracy and clarity in the upper bands along with a beefy mid-bass thump. Additionally, the traditional single dynamic driver design adds richness to the

overall sound The Advar's basic timbre is

experienced clipping or distortion. Even our

Meze describes Advar as "a piece of visual and sound art,” and we happen to agree. The shells, made of stainless steel, are manufactured using metal injection molding and CNC finishing. We quite like the mesh that seals the nozzle as well. When handling these IEMs, you feel you are holding a durable professional product. For us, the mass was just right for a solid feel while in use. The shells never fell out of ears, not even once, and the supplied cable was just the right length.

We found the Advar very easy to drive as well. We never felt we had to push the volume knob up too high, and we never

headphone output jack and Audirvana for playback.

We can also see why Meze Audio has an established user base in the pro audio world. Mixing and mastering tracks for a friend’s musical project proved to be a pleasure with the Advar. Our mixes were accurate when we switched to monitors, and the smallest EQ adjustments were accurate. The Advar’s excellent handling of tone and texture was just as important in this environment.

In the end, the Advar proved to be dynamic, balanced, robust, and most importantly, fun to listen to. There was no shortage of energy, but no hint, to our ears, of edginess, bloat, or serious frequency tilt. The

attention to detail is commendable. The folks in Romania clearly wanted to impress with sonics, build, and pride of ownership.

CONCLUSION

The Meze Advars are mini works of art and a captivating display of contemporary industrial design. In the end, we found the sonics to be smooth, rich, detailed, and very engaging. We loved the feel of these IEMs in our hands and in our ears. For us, the Advar is worth the asking price, and well suited for numerous applications.

In our estimation, Meze's design is a success. Advar distinguishes itself from its rivals with a wonderful high-end audio experience. It successfully completes every task given to it with good technical performance, a clear and conclusive character, and a balanced and enjoyable sound. It's simply naturally-flowing and velvety. Very highly recommended.

PRODUCT INFORMATION

Driver: 10.2mm Dynamic driver

Frequency range: 10 Hz - 30 kHz

Impedance: 31 Ω

SPL: 111dB/mW

Distortion: <1% at 1kHz

INCLUDED WITH PURCHASE:

• 1x Hard case pouch

• 5 pairs (SS, S, M, L, LL sizes) Final Audio Type-E ear tips

• 1x MMCX SPC 1.2 m cable to 3.5 mm gold plated jack

• 1x MMCX removal tool

• 1x Cleaning tool

• 1x User manual

• Meze Audio

• https://mezeaudio.com/products/advarbundle

AKRM-C

These are the most immersive, dynamic, detail-rich, nuanced, elegant, engaging, emotional, and yes, musical speakers I have ever heard. By far.

Timothy Roth, Positive Feedback

SILENT ANGEL RHEIN Z1 PLUS

By K. E. Heartsong

SILENT ANGEL RHEIN Z1 PLUS

Ican remember with great ease the first audio system I had as a young adult. It was composed of a Rotel integrated, a Rotel CD player (I don’t recall the model numbers), and a pair of floor-standing B&W speakers, the 804 perhaps, of a longretired model. Of course, the original B&W 801 was always on my wish list, though I would only get as far as the 802. It was a good system that entertained my friends and me for quite some time.

I remember how quickly the technology of the industry began to change. Where once there was only the CD player, now there were transports and DACs, entry level to top-of-the-line, with various gadgets and abilities, and earned bona fides. And if I remember correctly, the various manufacturers had taken the charge to fully identify and deal with that music-sapping scourge—jitter—that would diminish and continue to diminish music to this very day. I would advance along this path and end with the penultimate Mark Levinson Transport and DAC separates, just below their top-of-the-line combo (No. 30.5 DAC, No. 31.5 transport). Though I would always miss the Mark Levinson No. 39 CD for its state-of-the-art design, its liquid smooth movement, its curved metal front edges, and its substantive weight, which conveyed high quality. It really was high

quality.

And I remember my first experience with a Silent Angel (a name I’ve always admired) streamer—the Rhein Z1—that always played well above its price, challenging players that it had no right to. While I have certainly become acquainted with and own truly exceptional and highly regarded streamers— Grimm Audio MU1, Baetis Revolution X4 (review coming), Mola Mola Tambaqui (as networked streamer)—there is great respect and appreciation for the the various Silent Angel products I have reviewed and their ability to, well, easily transcend their pricing to compete with the top hi-fi priced products time and time again.

This review will be of the latest Silent Angel product, the Rhein Z1 Plus, which represents a further assault on the high-end spectrum of streamers and in the relatively small selfsame though substantive package. You would be much mistaken to judge this “book” by its quite compact aluminumextruded metal cover.

REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start, below, with how the equipment actually sounds and not the process of physically “undressing” it and/or laying out its various parts, specifications, etc. Think of this review, then, as a non-linear movie—Memento, Kill Bill, Arrival, Eternal Sunshine of the Spotless

SILENT ANGEL RHEIN Z1 PLUS

Mind, The Terminator, In the Shadow of the Moon, The Queen’s Gambit, etc.—that likewise starts at the end and winds its way to the beginning.

THE SOUND

I had become accustomed to the Silent Angel signature, which, simply put, represented an incredibly low noise floor, given its pricing that was always competitive with much more expensive streamers. This was coupled with an analog-like signal, replete with daunting transparency, resolution, and an ability to present fine detail with great ease. It became crystal clear when the Rhein Z1 Plus went up against a well-known streamer nearly six times its price. The more expensive streamer seemed opaque in comparison. And this was something I was not even remotely prepared for.

As I mentioned in my review of the Rhein Z1:

“Your computer doesn’t stand a chance and the ROON Nucleus Plus doesn’t either. That blur that just passed them both by on the high-fidelity road to nirvana, well, it was the Silent Angel Rhein Z1 and Forester F2 combo moving at hypersonic speeds and the combo is miles ahead!”

The Rhein Z1 Plus follows the same script, and its abilities allow it to surpass

streamers at multiples of its price, which was clearly evident time and again. I could give a run-down across discreet frequency segments —bass, midrange, treble—but check the review of the Rhein Z1, with a note that the Plus was quieter still, and you’ll have an idea of its relative abilities. Though in short there was that selfsame transparency, air, nuance, and the musicality was just as immersive and beguiling.

The Rhein Z1 Plus paired exceptionally with every DAC in-house, and never was there a letdown in its high-fidelity prowess or its musicality. And when paired with the Forester F2, those well-known high-end streamers became a wee bit more opaque.

The Rhein Z1’s Plus volumetric cube is such that it too can take on great width when there are no limiting components in the chain of playback. And as our reference systems are vetted for not limiting any aspect of high fidelity reproduction, there were no issues here. However, when coupled to the Forester F2, the overall volume expanded and allowed for the combo to capture details buried at the depths of a soundstage in a lesser system. This was one of the many ways in which the Silent Angel combo continually rose well above its price category, its competitors, and my expectations. The combo’s sound-staging abilities—spacing, layering (front to back positioning)—were

SILENT ANGEL RHEIN Z1 PLUS

outstanding. And tone, timbre, refinement, ambiance left me wanting for nothing. Surprise? Yes, and especially at this price point.

The Rhein Z1 Plus and Forester F2 were paired with the Mola Mola Tambaqui, the Bricasti Design M1SE DAC, and the Mojo Audio Mystique X SE DAC. The headphone amps employed were the Aurorasound HEADA, the HeadAmp GSX MkII, and the Blue Hawaii Special Edition Electrostatic. Headphones used were the Abyss AB1266 Phi TC, the ZMF Atrium, the Meze Empyrean, the STAX SR-009S, and the Dan Clark CORINA. Audience Front Row wires and AntiCable and RSX power cables connected the system. The TORUS RM 20 provided service as the power conditioner.

NOTE: You’ll want to pair the combo with very good cabling to get the best out of them, as poor cabling will stifle their abilities and price should not necessarily be a factor. I’m happy to provide recommendations.

DESIGN, LOOK & FEEL

The family resemblance of the external facade, not taking into account its rear panel, is nearly identical. The Rhein Z1 Plus is compact, substantive, clean, and bears a ridged squarish (with round corners) black metal body. Further, it is also CNC’d from

“aerospace industrial-grade aluminum alloy, wherein the entire chassis serves as a fanless CPU heat-sink which reduces thermal noise by 15%.” The Rhein Z1 Plus will fit on any desk and in so doing, will hide its rather impressive abilities as a true high-fidelity streamer.

The Silent Angel Rhein Z1’s Plus back panel features, from left to right: a metal push-button on/off switch positioned above a 25MHz word clock input; two ethernet inputs and below, a toggle switch for selecting internal or external clock; a 12V linear power supply input; and a USB-C port beside the power supply input. Further to the right are two USB 3.1 ports and beside it, an HDMI port. And finally, beneath are two USB 2.0 ports for connection to a DAC and one for additional storage.

The Rhein Z1 Plus, in sum, is minimalist, beautifully executed with a solidity and weight that speak to substance, a wellexecuted design, and decidedly high-fidelity abilities.

FUNCTIONALITY

Silent Angel Rhein Z1 Plus

The Rhein Z1 Plus, like its sibling, is a Roon Core and a Roon Bridge that allows the play of Spotify, AppleAirPlay, Amazon Music, Tidal, and Qobuz. It also plays back internally stored music or music present on memory sticks, etc.

SILENT ANGEL RHEIN Z1 PLUS

The Rhein Z1 Plus can be enabled by its proprietary VitOS operating software, which allows for its quick enablement and recognition by your system and/or Roon. It took mere minutes to plug in the ethernet cable, the USB cable, and then power it via the Silent Angel Forester F2 LPS 12V power supply. Through the VitOS system, I selected the Roon core as a streaming engine, and the Rhein Z1 Plus became immediately available for streaming.

The differences between the Rhein Z1 Plus and the Rhein Z1 are briefly outlined below. The Rhein Z1 Plus:

• Utilizes the newest Intel Quad-core CPU J6413 Processor

• Comes standard with more RAM 16GB/ 32GB relative to 8GB/16GB

• Has a more accurate TCXO word clock

• Comes with external port for a 25MHz state-of-the-art clock

• Offers greater overall noise reduction

• Outputs to 10 audio players versus the standard edition’s 2 audio players

• DSD playback up to DSD512 versus the standard edition’s DSD256

Overall, the Rhein Z1 Plus brings additional noise and jitter reduction (25MHz word clock), increased RAM and memory, the ability to support up to 10 audio players, and it can also handle higher DSD playback formats.

CONCLUSION

The Rhein Z1 Plus ($3,199), like its nonPlus sibling, brings exceptional high-fidelity streaming to your system, whether it be twochannel or a dedicated headphone system. And again, its value-to-cost ratio is outstanding, as exemplified by two quite well-known streamers, four to six times its price, which were in-house during its review. Well, the Rhein Z1 Plus streamer embarrassed them both. The two much more expensive streamers, which shall go unnamed (we don’t throw products under the bus) were returned unceremoniously to their manufacturers. This, of course, speaks to the tremendous value and high-fidelity bona fides inherent in this relatively low-cost streamer.

And in this case, given all the additional goodies—more RAM, more memory, a quieter overall component infrastructure (second-generation USB with audio enhancement), further jitter diminishment via a state-of-the-art 25MHz clock input (we did have the Genesis GX Master Clock on hand for the review!), and you’re no longer in $3k-$4k territory, you’re easily competing in $20k territory, especially when you’re taking down giants left and right.

Given the various improvements, the Silent Angel’s ever-evolving and impressive high-fidelity signature, its extraordinary 2 to

SILENT ANGEL RHEIN Z1 PLUS

0 victory over, well, giants(!), it’s as easy as breathing to award the Rhein Z1 Plus, brimming with consumer-friendly goodies, our DIAMOND AWARD for excellence.

Pros: Exceptional performance and a wealth of audiophile goodies that allow it to compete far, far above its price range, and in every respect.

Cons: None.

SPECIFICATIONS

https://www.silentangel.com/z1-plus/

COMPANY

Thunder Data, Co., Ltd.

Silent Angel Rhein Z1 PLUS, $3,199

Thunder Data Co., Ltd

www.silent-angel-audio.com

AKRM/C

audiokeyreviewsCA.com

Wassily Kandinsky - Beide Gestreift

Andre Derain - Landscape at Cadaques

RECOMMENDED COMPONENTS

Welcome to AudioKeyREVIEWS Magazine Canada’s Recommended Components, which will become part and parcel of each of our various issues. The purpose of this section is to acquaint the reader with products—speakers, DACs, amplifiers, preamplifiers, turntables, headphones, IEMs, streamers, portable audio, etc.—that we feel are quite exceptional and rise above their like brethren. There will be three categories—Budget, Mid-Tier, and Top-Of-The-Line. In our Budget Recommendations there will be products that compete far above their respective price point and are, generally, also built to reflect this.Our Mid-Tier Recommendations will encompass those products within arms reach, in terms of relative affordability, that present value and a challenge to the vanguard of their respective product niches. Finally, our TOTL Recommendations will be composed of those products that are at the cutting edge of technological advancement now happening across the world. The three categories of recommendations will rotate across the various issues of our magazine and there will also be a fluidity to the products within the various lists. Things change and especially now given our current technological epoch. The various lists, however, will be fixed on the AudioKeyReviews.com website.

Paul Klee - Southern Tunisian Gardens

RECOMMENDED COMPONENTS

AURORASOUND HEADA $2999: If you’re looking for an endgame headphone amplifier and even if your headphone amplifier is more expensive, try this one, you may be quite surprised. That said, the Aurorasound HEADA headphone amplifier is a top echelon component and an easy DIAMOND AWARD winner.

SILENT ANGEL RHEIN Z1 $2299: The Rhein Z1 and Forester F2 combo played far above the league that their combined price would indicate. For many, this $3,900 combo may well represent an endgame streamer/ power supply capable of exceptional fidelity with DACs from entry level to those on the cutting edge.

ABYSS AB1266 PHI TC $5999: I think that I’ve said it all. The Abyss AB1266 Phi TC is a phenomenal headphone. It brings an undying passion for musicality and a ferocity for transparency and clarity and detail retrieval, formerly the domain of the best electrostatic headphones. But this planar headphone speaks that language—electrostatic—fluently and well.

RECOMMENDED COMPONENTS

TORUS RM20 $3999: Can you say pristine, natural, open, and unhindered frequency response? Wide dynamic range? And there were oceans of detail, air, microdynamics, and ambience rendered by the Torus RM 20. It was not subtle. On the contrary, it was stunning.

RSX POWER8 $399: The RSX Power8 clearly holds to the dictum, “Do no Harm,” to the system in which it is being utilized. What it, in fact, offers is pure, clean power, a testament to the meticulous parts selection, research, and conscious minimalism all employed in its design. suffice to say, that it has no competitors at 3 to 4 times is cost.

GESHELLI LABS ERISH2 [E2] $219.99, JNOG2 [J2] $249.99: Disinterested in ostentation, Geshelli Labs believes in real world pricing with high fidelity performance. Their JNOG2 plus ERISH2 are a petite and potent bargain. With just enough character to put flesh on bone, the classy little twosome sets your music free without excessive color or dispensable features.

NOVEMBER 1, 2023

AUDIO

LIIONIDAS EXTREME SPEAKER

SEISMION 54 AMP STAND

TRI-ART PREAMPLIFIER

TRI-ART AMPLIFIER (MONO)

SILENT ANGEL Z1 PLUS

RSX MAX POWER CABLE (not pictured)

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Wayne Thiebaud - Cakes