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The H80 is the real deal. The triode valve analogue output stage operates in pure Class A, and modern tube best practice is followed with good new old stock valves specified, short signal paths and point-to-point silver wiring. Conclusion The Silver 2 pushes out a wider soundstage than its rivals.

Audirvāna – Music Player⎢HD Digital Audio Player

Audirvana Plus Crack Mac Full Version [Updated] Sound quality. ( KB) Torrent ILWA VER. AUDIRVANA Updated OS X. I own the Plus version. audirvana plus vs audirvana studio. Audirvāna Studio (Mac) · Advanced audio player that combines music from multiple sources, including local files and streaming services, and is.


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The DND status only applies to the phone you set it on. By purchasing a new product or tested product, YT Downloader 7. AudioSwitcher is ideal if you have multiple sound By e-sds. Created with Sketch.. Right Arrow. Leave a Reply Cancel reply. Save my name, email, and website in this browser for the next time I comment.. The app utilizes an optimized file-moving algorithm that helps In addition you can change GarageBand Spotlight Presentation Remote with Knox 3.

AudioSwitcher v2. Audirvana Plus 3. AudioSwitcher is a menu bar that allows you to switch quickly between all available input and output devices. In addition you can change the volume and Bill Falconer AudioSwitcher v3. Requirements: This sound bank requires Dune version 3.

You May Also Like. In Application ,Mac ,Music.. One of the app’s strong points is that it allows you to access songs from multiple streaming services Apple Music, Tidal, Qobuz, HRA , as well as local files, podcasts, and radio stations, making it much easier to keep everything organized.

You can combine local tracks and music from streaming services into a single playlist, and these playlists are very easy to manage. The app also comes with a powerful metadata editor that lets you add missing data and keep everything updated. Its exclusive core player bypasses the audio mixer and makes sure your music reaches the output device without any alterations. You can take advantage of this player when playing music from any source. Sound quality Right from the very outset this combination commands your attention.

Together the components seem to deliver a passion for music that just gets your toes tapping, and they achieve a rare balance between accuracy and soul. Bass lines have powerful weight, yet clear leading edges that help you lock into the compelling drive of the track. The Exposure combo comes across as having brilliant timing and infectious rhythm, especially around the lower registers.

Yet this pair also possesses a true lightness of touch, a smooth, informative midband coupled with an airy treble that suggests the combination is very even-handed in delivering all the music on the disc. Equally, hand chimes in the track are tightly focused and continue long after some other budget CD players have lost some of the decay detail. It locks straight into the funky groove, with cleanly separate bass, drums, vocals and brass all gelling into this modern soul classic.

Organ weight is convincing, although things get a little congested when the full orchestra joins in. It gets to some extra truth that other players smooth off for an easier listen. In isolation this could be too revealing in the wrong system.

At the other end of the spectrum, bass power can be punchy and full, so again, a mismatched amp or inefficient speakers could lose the quality message this player dredges up. If the CD player is a class act for the money, then the amp is a bargain.

Where the CD finds extra treble and bass detail along with great timing, the amp has a flair for relaying the emotion of music.

Great timing is preserved and its wonderful midband helps get all the pivotal information and intonation around voices and instruments. Bass has weight and attack, yet also warmth and agility. Conclusion The real magic happens when these components work together.

Where the CD could be too revealing, particularly on harsher tracks, the amp helps with some forgiveness and extra insight into the music. The major concessions to modernity are the new remote control and a front panel USB input for iPod. Generally, the quality of finish seen in both these components belies their low prices. Sound quality As you might expect, this Marantz combo sounds big, fat and warm. First, each component in isolation.

Driving a Creek Destiny 2, the CD sounds very nice indeed. Bass does its own thing happily, sounding surprisingly strong and tuneful for a cheap deck and the result is very enjoyable. It seems to bounce along with a smile, determined to enjoy whatever you play through it, without a care in the world. Conclusion Designing budget separates such as these is the art of the possible and it all comes down to how cleverly you make the compromises.

The brushed metal fascia is superb, and is agreeably sculpted to avoid the generic blandness that afflicts many Japanese products. This is very much a legacy format now. This runs at twice the data rate, giving theoretically superior sound, and the SA is currently one of the few machines on sale that is built for this.

However, the SA is unlikely to be used with the very best ancillaries money can buy, so it does need to be reasonably easy going – a high intensity, full-on sound may well grate in a mid-price system, after all. With this in mind, the Marantz hits the spot perfectly; it is a powerful and confident sounding machine, far more so than any budget CD player or DAC, which will sound rather thin and veiled by comparison.

Stereo imaging is expansive and location within it pretty good; it also takes a fair crack at dynamics. This track is very good at forcing mistakes from front ends, but the Marantz copes manfully. It is uncomplaining and workmanlike – it just gets on with the job of playing the song without any fuss. Oh, and it is also without a searing, harsh treble or a forward upper midband, too. So we can say that this is a seriously couth CD spinner; it falls into no traps that give away its status as a relatively inexpensive product in the great scheme of hi-fi things.

The player really catches the timing of the music, and gives a great sense of flow from verse to chorus to verse. It unravels the various layers of the mix in an easy, unaggressive way – making for an informative sound that seduces more than it thrills.

The SA is never boring, but it lacks the intensity and vitality of some of the better, more expensive machines. Conclusion The SA is one of those unerringly capable designs that gets on with the job in a most agreeable way.

Our review sample comes with the DAC built-in, but the cheaper version simply has a digital output, making it ideal for those that already have a digital converter or DAC- equipped CD player. Being a Krell it is compulsory for it to look big and bold, and so it does. The central section sports a long LED light that glows red or blue depending on the mode – standby or operating. To the right is a small x pixel, 90mm diameter backlit LCD screen. The synth bass line modulates up and down with heady aplomb, sounding wonderfully untroubled by what is going on further up the frequency scale.

Treble is svelte and smooth too, and timed beautifully – the Krell manages to bring all of the music together in a believable, coherent and organic way.

For example. Indeed, the way the Connect allows all the elements to play along with one another is a joy to behold – it manages the deftest of party tricks of enthralling yet never tiring the listener. This means that unlike some rivals, which seem to have been voiced in one way or another, it works uniformly well across a wide range of source material.

Conclusion We have tried many different machines at this price point and the Connect can hold its own. You could even treat yourself UK offer only. Gift subscriptions will begin with the first available issue of and personal subscriptions with the next available issue when order is placed.

Your details will be processed in full accordance with all relevant UK and EU data protection legislation. Although we will strive to supply this card prior to December 25th we cannot guarantee this for any orders placed after December 5th We discover the mu-so works best a good way from rear or side walls, where it can breathe properly. The bass never booms, but is nicest about 50cm out into free air, with the unit firing in the direction of the listener roughly at ear level.

Its front speaker baffle is small, yet the scale of the music completely belies this. Its ability to reproduce the middle and upper notes of the bassline is excellent, though, as well as conveying the keyboard work in a crisp, undiluted way. It streams music from network- attached storage, smartphones, tablets, USB sticks and ye olde MP3 players, and can work as a standalone system or part of a multi-room setup.

It plays internet radio and works with Spotify Connect. It lets you follow the flow of the music, listen into the mix and enjoy things just as you should.

It goes loud and retains a sense of rhythmic integrity and dynamic ease that seems to defy the laws of physics. The treble surprises here too, giving a spacious feel and marking out the recorded acoustic well in spatial terms.

The funky and more complex grooves of this track really lets the Primare show how effortlessly natural sounding it is.

The music is full of atmosphere that seems to bring to life the energy of the recording. Its dedicated app is one of the easiest and most intuitive, making the Primare a breeze to get to grips with.

When the strings kick in, the R7 reveals its subwoofer is no shrinking violet and its out-of-the-box setting requires a smidgen of attenuation in order to eliminate reverb and optimise the bedrock for the building blocks of the higher frequencies.

The higher frequencies of the wailing synth and flute are pin sharp and blend wonderfully with the midrange of the acoustic guitar. At least it automatically skips unplayable tracks in a playlist. His vocals are deep and beautifully rounded, gliding effortlessly in harmony with the tinkling piano and percussion.

Conclusion No audiophiles are going to chuck out their hi-fi separates system in order to accommodate it, but the R7 radiogram reboot is a great deal more than simply an attempt to cash in on the current vogue for retro-looking systems.

Things got difficult back in the late nineties, when MP3 files began to replace CD. The company’s instinct had always been to maintain control of the entire music recording and replay chain, from record company to format to player. But for once, Sony was caught on the hop. Now though, Sony is back with a subtle but clever evolution of the digital music player.

First announced at IFA in , the HAP-Sl high- resolution music player sets out to give easy access to high-quality digital music in a sleek, one-box package. It has a GB hard drive built in, and so forms the heart of a large music library – and importantly it has clever new software that lets you transfer your music library from your Mac or PC with ease. We have already seen a slew of such devices appear on the market.

In fact, the closest thing in existence to the HAP-Sl is the Brennan JB7, which is an altogether less audiophile proposition, as we shall see. Sony is serious about its new one-box system, having resisted the temptation to use cheap, low current consumption, high power Class D power output modules. Instead, it has stuck with Class AB operation on sound quality grounds. Its power amp is of dual mono construction, and is said to have extended bandwidth to exploit hi-res audio sources, up to lOOkHz.

This sits on eccentric insulators, made from specially chosen rubber. The HAP-Sl sports a low-loss El ferrite core power transformer, and careful attention has been paid to earthing, with a single ground point and high-strength epoxy glass circuitboards said to be twice the thickness of rivals. Trick power supply capacitors are fitted, selected for sound quality, the company says, as are carbon resistors. Special signal switching relays are fitted in lieu of semiconductor switches.

Overall quality of construction is excellent considering the price. Usefully, it does this in the background, so we are able to play music from the hard drive, or any other source while it dutifully downloads our many files.

Our only observation would be that it would be great to be able to record directly from an analogue source, so that you can archive your LPs or tapes too. But you can, of course, record LPs on your computer, which the Sony will automatically copy then play. Sony products are always models of ergonomic excellence, and the HAP-Sl is no exception. In truth, though, it does not do precisely this – rather, it guesstimates what should be in the upper part of the audio band, and also what was in the tail end of the waveform that was chopped off by the MP3 or AAC compression algorithm, and adds it to the music file.

A nice feature to have, but ideally audiophiles should stick with the original hi-res music files rather than trying to magic them better via a clever DSP! Auditioning starts via its analogue and digital line inputs, to gauge the amplifier section.

The digital input is better, with a cleaner and more open sound, one that is very enjoyable in its way. It proves to be fun with a big-hearted, animated sort of character, and gets on with the job in a satisfying manner. The HAP-Sl also features a built-in internet radio tuner, using vTuner, and this works well, despite the depressingly low bit-rates used by the broadcasters.

With hi-res files it makes a very nice noise then, but you are always aware of a slightly opaque midband, and a sense of the music being processed. Switched on, it really does improve things, adding some air and space to the hi-hat cymbal work; the bass sequencing is more distinct and tuneful, and the lead synthesiser line carrying the melody has better resolved leading edges.

There is a great sense of space, a nice natural swing to the rhythms and a lovely lustre to the trumpets. The Sony also manages to summon up a decent sense of the depth of the recorded acoustic – which we know to be a very capacious thing. This is fair enough though, considering the relatively low price of the unit, and all in all it is a solid performer.

Conclusion Five years or so ago, the brave new world of computer audio grew up into hi-fi separates with hard-disk drives inside. Products from companies like Brennan, Cambridge Audio and Yamaha offered instant playback of computer files from standalone boxes. Then streamers appeared, and the whole industry began to rally around this model. It works rather like a 21st century CD jukebox, offering instant music, and plenty of it – but it seamlessly integrates with your computer and its music library via your home network.

The Sony HAP-Sl is a special product then, offering an impressively easy and pleasant user experience, allied to excellent build and finish, flexibility and decent sonics. Direct Debits from the account detailed in this instruction subject to the safeguards assured by the Direct Debit Guarantee.

Reference Number official use only Please note that banks and building societies may not accept Direct Debit instructions from some types of account. Hi-Fi Choice is your essential guide to getting the best possible sound from your hi-fi, whether you’re buying or tweaking. With a wide range of features and equipment reviews, including our Group Tests, it provides unbiased reviews on products with real-world prices. Whether you’re looking for more affordable accessories, have a hi-fi query you need answering or reviews of the latest music, it’s the ideal gift for hi-fi enthusiasts.

Please see www. Quote ref: X www. Calls from mobiles usually cost more. In other words, the miniBlink is unashamedly a mass market, consumer audio product. And why not? This shows that the company has been fast to recognise the potential of a brave new audio world where mobile phones and tablets are now our music sources.

So the miniBlink is squarely aimed at a younger demographic, and maybe their more hip, groovy and swinging parents too – but certainly not at folk who have concerns that aptX may not be a sufficiently high-fidelity medium to transmit digital audio over.

All the miniBlink has to be is small, cute and ultra easy to use – and it is. Indeed, Arcam intimates that this is how it sees many miniBlink customers using it, flitting between friends and family music systems for the few years we have before everything on sale gets Bluetooth connectivity built in. This done, it will light up a lovely shade of violet. The whole process is done and dusted in just under a minute.

Although adequate, the miniBlink would surely sound significantly better with either or both of these upgraded. Standard Bluetooth sounds gruesome, but this special wireless protocol that piggy-backs onto it offers decent sonics. In this respect, vinyl LPs do better. Sure, they have a multitude of other problems, but always seem to time more convincingly when played on a decent turntable.

Watts thinks this is a serious flaw, and the lower resolution the digital signal is ie CD compared to hi-res , the more acute the problem becomes. He also researched pyschoacoustics, and this has stood him in great stead for what he is doing now. And the unique design of the Hugo DAC addresses precisely this failing. This is done using a huge Xilinx Field Programmable Gate Array, rather than off-the-shelf chips from existing manufacturers.

For this reason, the Hugo should sound different to every other DAC around. It consumes just 0. This has made the idea of an ultra high-quality portable, battery powered DAC possible – and Chord ran with it. The Hugo can be used everywhere. It also has a very high-quality digital volume control and the choice to run the Hugo as a line-level device like a normal DAC.

The Hugo goes further still, and the difference is centred around the way the music flows. You become far less interested in the hi-fi aspects of the performance, and drawn like a moth to a flame, right into the song. It pulls this trick off again and again. It is impressive in hi-fi terms too; bass is powerful yet wonderfully supple, bouncing up and down like a giant rubber ball.

The midband is startlingly open and detailed, and soundstaging is sublime. Treble is on another level too. And running the gamut of hi-res options the Hugo offers, things get better. Conclusion In the Hugo, Chord Electronics has made one of the finest digital converters in the world – and it just happens to be portable. It works brilliantly as a fixed-level output DAC, but has an excellent digital volume control that can drive a power amplifier with ease, and is also great powering a good set of headphones.

This is a landmark product because it makes all flavours of digital sound so nice to listen to. This gives a welcome element of visual flair to an otherwise quite utilitarian device.

One pair of optical and one pair of coaxial digital inputs. Power is supplied by a very modest-looking wall-wart type switched mode unit. Sound quality This proves something of an enigma as in many ways, on some music, the listening panel rates it as an exceptional performer, yet on other music it seems to fall off the scale and sound nowhere near as convincing.

It also divides opinion, as one of the three consistently marks it down a bit, while the other two rave about it. The D has a characteristically NAD sound, which is to say it has an apparently quite dark and velvety sort of tonality with a little bit of upper mid edge for good measure.

Another agrees that it is great for attack transients, sounding very fast and expressive, adding that it makes a compelling case for itself musically. He admits it times well on guitar tracks, but suggests that this could be down to it being a touch mid-forward.

Even bil; CDs have only about half of the audio spectrum that the master recording holds and that’s a whole lot more than MP3s have left in them.

With more than a decade of compressed audio piping through earbud headphones and cheap dock players, the time has come. The portable players we all love have created a new way of listening to music, but there hasn’t really been much there to hear. Until now. Enter true bit HD digital audio. Mu-so is the stageyour music deserves, bringing you closer to the songs that inspire your life.

When connected to your home network, you can also enjoy a wide variety of online music services remotely. Incredible value and peerless sound quality from Bluetooth. With a minimalist design, the C turntable offers accurate reproduction by using performance-focused parts and components that put music first.

Includes four analogue line-level inputs and a phono input. Includes asynchronous USB and a direct iPod input to optimise sound quality. In fact, all digital sources will get a boost when the D 1 takes over for the inferior digital circuitry found in everything from Blu-ray DVD and CD players, to music streamers and set-top boxes. The M51 will truly transform any system. Just add speakers and you sound, and more life to iPod and iPhone music libraries via are ready for an incredible Hi-Resolution Audio experience.

The Silver 6 is an outstanding communicator of music and film audio. It creates a precise sound stage and profound bass performance from its compact cabinet. The result simply sounds and looks beautiful. Rarely the case in such a compact design, the LS50 monitor delivers a rich, multi- dimensional ‘soundstage experience’ that is out of all proportion to its size.

The deceptively small Imagine Mini makes a big impact on an already impressive range of award- winning speakers. Q ACOUSTICS This award-winning bookshelf speaker exudes quality, delivering extended bass, an open mid-range, astonishing transient response and exceptional high frequency clarity. One year of music included. There is a free app to control them from your iOS or Android phone or tablet.

You can enjoy your favourite streaming music services, internet radio or your own music collection and set-up is a breeze. Website Visit our website for a stream- lined on-line experience with an outstanding product selection plus the latest product news and store infomation.

The sound is clean, but not in a sterile way. Rather, it is smooth, spacious and well textured, and this is completely unexpected given its very modest price. VAD says these have been selected for reliability and robustness. The triode valve analogue output stage operates in pure Class A, and modern tube best practice is followed with good new old stock valves specified, short signal paths and point-to-point silver wiring. It comes over as a simple conduit for the music, letting it blossom and flow.

Sometimes high-resolution files can disappoint, sounding more impressive from a hi-fi perspective, but not necessarily more musical – but not here.

Bass is amazing enough via bit, but at higher resolutions it is breathtaking. Indeed, so open, even and effortlessly musical is the DAG , that we have to scrabble around for things to say about it. The only obvious flag it flies is that it is a tube design. Having said that, the DAG- 10 is an auspicious debut. Although principally designed to drive a decent pair of headphones, it has a pair of RCA phono and balanced XLR outputs. It has a striking appearance that is both elegant and stylish perched on top of three spiked feet for support, and comes with matching spike shoes to protect surfaces from damage.

An audio driver for both Windows and Mac operating systems downloadable from the Korg website is required in order to support this mode and the higher sampling rates of audio.

In the centre of the panel is a good-quality rotary control for adjusting the volume of the headphone output. The AudioGate software is different from other proprietary playback software in that it undertakes much of the digital-to-analogue processing itself, rather than using the hardware. Although the audio quality in conventional USB DACs is better than using the built-in DAC of the computer as it is more sophisticated, the processing is nevertheless done within the DAC hardware and so the audio quality cannot be controlled.

By developing both the hardware and the application, Korg considers that it is able to ensure comprehensive audio quality, even on up-converted file formats. Sound quality The AudioGate user interface is easy to use and has a wealth of information displayed about the audio file being played. Conclusion All in all, the sound quality delivered by the Korg impresses, especially when playing higher-resolution files.

Sound quality This little speaker sounds nothing like your average standmounter. Nor does it thump out large amounts of bass, or indeed go loud in an easy and lazy way.

Rather, the ATC brings its own unique skill set to the party, and few others can match it. Not having a big cabinet thrumming away unlocks a whole world of detail propulsive, expressive and unerringly musical.

More than most it gives you the sense that music is foremost an emotional experience. Bass fans will love its tunefulness, but miss hearing the bottom octave of their favourite songs.

At the same time, the ATC really showcases dynamic accents, and together this makes for a seat-of-the-pants listen. Even with a light bass, jazz sounds gloriously propulsive, the listener getting their rhythm cues elsewhere. To continue that tradition, Marantz continuously updates its stereo collection. The result is a totally sublime combination that not only creates spectacular, earth-moving audio balanced with delicate minute detail but also includes on-board USB-DAC functionality for extreme versatility.

The acoustic price you pay for this is reduced sensitivity and extension, but this is a trade off that ATC prefers, and power is relatively inexpensive these days. Immediate, upbeat and highly entertaining in a youthful, spirited way.

The SCM19 is a rather more mature loudspeaker, it has a much more pro audio sound inasmuch as it is very low on character and revealing in a calm, restrained manner. It takes a while to appreciate just how much it lets through because colouration is so low. This is a very good thing for the music because you hear more of what the artist intended and what they heard in the control room at the studio.

This is the true advantage of a monitor, in a world where there is no absolute sound – we rarely listen to purist audiophile recordings that attempt to capture a totally natural sound – the best we can aim for is the sound that was conjured up in the studio, a sound that was arrived at with studio monitors. And given the amount of studios that use ATCs you have a good chance of emulating that with its domestic loudspeakers.

This ATC has superb bass, it goes low but is tight and fully textured. When partnered with a decent amplifier it stops and starts with total precision.

So when a pianist uses a damping pedal you know exactly how he or she is doing it. Overhang is not in evidence yet serious low end is, you can get quick bass by avoiding deep notes, but that is not the case here. You can hear way down into the mix and appreciate the subtlety of playing from every member of the band, this in the context of very open vocals but quite dark instruments. Piano really shows what this speaker can do.

We get totally carried away with Haydn and Beethoven pieces that usually fail to keep us interested. Transparency is what you want in both locales, the engineer might be listening for something different to the music lover, but they both want to hear as much as possible. In that respect this is a killer product. The H80 is the real deal.

This may be the best value for the money I have reviewed in my carreer. But more than just sounding great, they’re also effortlessly simple to use and come in a design that anyone would be proud to put at the centre of their music system. The K3 Integrated Amplifier has been built with today’s discerning audiophile in mind. There is power and bass drive in abundance, with superb sound staging and engaging detail that is both refined and enjoyable.

The K3 CD Player is a high-quality source component that delivers a rich, almost analogue, sound performance that perfectly matches the Integrated Amplifier’s delivery. When using these products together, you have a package that is truly unrivalled for the price.

Distributed by Henley Designs Ltd. Crossover point is 2. The cabinet is really beautifully done too, with a stunning piano black lacquer and superb detailing – this loudspeaker looks far more expensive than it actually is. The front baffle is curved and made from a special polyester resin combined with glass fibre and calcium carbonate.

The rear panel, meanwhile, sports luxurious single-wire terminals and a decidedly unconventional-looking bass reflex port. It feels solid when you rap it with your knuckles, and is quite heavy given its relatively diminutive dimensions. KEF claims a sensitivity of 85dB, which is about middling for a box of this size. Sound quality The LS50 is a larger than life loudspeaker, throwing voices and instruments wide into the listening room, giving that uncanny feeling of the sound hovering out into the space, completely detached from the speakers.

Soundstaging is superb. The treble is really good for a speaker of this type. It has an even, uniform tonal balance. This gives the speaker real clarity, and also makes for a rhythmically satisfying feel. Music bounces along with heady abandon, and so do you!

Monitor Audio has gone for a mm driver, which makes the speaker wider. Both units are rigidly bolted to the cabinet, and split two ways via a crossover with polypropylene film capacitors and silver-plated OFC wiring. The notes from the bass synthesiser start and stop extremely clearly, giving a powerful and pulsating feel. The midband sounds clean and detailed, the Silver Is throwing out lots of information from the innards of the mix. As well as giving a tighter, tauter bass than you might expect from a budget speaker, the other benefit of being small is the stereo imaging.

The sound comes from something close to a single-point source, letting it fire out into the room coherently to paint big, bold, three-dimensional stereo images.

The recorded acoustic sounds positively cavernous, in all three dimensions. Happily, this small box proves better than most. This is likely down to the larger drive unit, plus the very rigid cabinet. Ultimately at high levels there is a slight softening of dynamic peaks, but it is far less intrusive than some other similarly priced rivals.

It has a wide soundstage, and it drops back way behind rear wall. Its surprising clarity and transparency gives a clear window on the musical world without sounding bright or forward. Conclusion Overall this is a super little box and the beautiful finishes merely add extra icing to the cake.

It confers real benefits; larger drivers tend to have more in reserve, sounding more effortless and promising higher efficiency if implemented correctly. The speaker itself is beautifully finished and comes in selected premium quality wood veneers or high gloss finishes. The 20mm- thick, well-braced cabinet is very sturdy when given the knuckle rap test, thanks in no small part to single bolt- through drive units. Monitor Audio says silver-plated copper wire is used internally, along with premium polypropylene film capacitors.

The bass port sits discreetly around the back, and neat magnetically fixed grilles are also supplied. Rather like a lazy, large-engined luxury car, the Monitor Audio can deliver all the power it needs, but does so in a more relaxed and less forced manner than many similarly priced rivals.

Percussion is better accented than most, giving a superior sense of rhythmic flow, and the crashing keyboard cadences push out in a more arresting and explicit way. Behind this, violins soar in a wonderfully accurate and expressive way, and the speakers catch the drama of this great song.

Conclusion The Silver 2 pushes out a wider soundstage than its rivals. Snare drums sound tight, while treble is delicate and smooth; the tweeter reveals real delicacy that makes rivals seem rather ragged in comparison.

Deutsche Grammophon re-issues available now sound foUJndotions iiujiu. I souodfoujrKkitions. A dispersing cone is placed at the mouth of the port on the rear and is designed to improve the air flow in the same way that a long, flared port would do on a larger floorstanding speaker. The claimed result is lower turbulence at the mouth of the port and a reduction in distortion. As the radiation of the front and rear ports are out of phase with the drive-unit output, resonance peaks should be suppressed.

Whatever benefits accumulated by the various anti-resonance measures. The mid-range is beautifully presented and subtly spotlit to achieve a tremendous sense of hear- through clarity and detail. Likewise, the speed and expressive reach of the dynamics are almost scarify good. Here you get it all in a way that appears to be completely unforced and natural.

But through the Als, the tumbling notes seem punchier and pacier, more pristine yet more harmonically replete. Grand piano, the undoing of many a small speaker, holds no fear for the plucky Polks.

They even make a decent fist of giving some weight and harmonic structure to the lower octaves. Remarkably uncoloured, but far from neutral in the dull sense, the Als are even handed with all types of music and, despite obvious physical limitations, sound expansive with great bass and dazzling midband insight.

Conclusion Elegant design, real wood finish, ease of drive and general unfussiness about placement only add to our feeling that the best kind of hi-fi product is a bargain. This makes for superior stereo imaging and focus, as any dual concentric speaker fan will tell you.

The Mini asks its 25mm titanium dome tweeter to do a little more work than usual, as it crosses over at 2. This is fairly routine for a larger two-way speaker design, but less so for something of this size. The usual knuckle rap test delivers a satisfyingly dead thunk. The moulded rear panel houses a single pair of speaker binding posts and a rear bass reflex port.

Positioning is easy – two to three metres between one another, just a few centimetres from the rear wall, and slightly toed-in according to taste. The main trick is finding stands high enough to get their tweeters at ear-height; we use Atacama SE24s. Tonally, there is no sense of the bass falling off a cliff, as the Mini sounds surprisingly fulsome in the upper bass. In absolute terms, of course, the bottom octave is missing, but the richness of the balance above that flatters to deceive.

At the other end, treble is crisp and surprisingly refined for a speaker of this price. For example, the trumpet sound has a realistic rasp, and hi-hats have satisfying shimmer. This track is packed with closely layered jangling guitars, and can descend into a muddle on lesser loudspeakers, but the Mini dives into it with aplomb.

The upper midband is admirably smooth, with no nasty shrillness, and the snare drums bite through the mix cleanly. Things flow beautifully, the PSBs proving well able to capture the rhythm of the music as well as the subtle dynamic accenting that breathes life into the song.