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Etiquetas: bajar. Suscribirse a: Entradas Atom. I found that they had the uncanny ability to smooth out the leading edge to notes which can be a double-edged sword. With some music this is actually a bonus as it can make edgy recordings more listenable and it certainly makes the loudspeakers completely fatigue-free.
In my reference system I simply cannot listen to this track as it is far too strident and quite frankly sounds nasty. Even watching television with them hooked up improved my viewing enjoyment. I have a more than adequate 5. A real tour de force! Highly recommended! Arcaydis are a Sheffield based manufacturer of loudspeakers that many will know the name of.
Richard is not part of the new company, but the new builds are an exact replica of the first designs and the company is now totally owned by brothers Robin and James Szemeti with Robin being Technical Director of a pro-audio company and James working for a service and support operation for global customers in an industrial software company. Arcaydis are based in Sheffield only a few miles from me, so Jim popped over with a pair of the EB2S and he also brought samples of all three available finishes oak, black and matt white.
Other finishes can be supplied at an additional cost. The speakers are mm tall, mm wide, mm deep. Round the back of the speakers are a pair of bi-wireable connections and Arcaydis suggest using stands of 40cm stands; I used a pair of Atacama Nexus mm stands filled with kiln dried sand and Atacama isolation gel pads on the top plate. These for me provided the perfect height and platform for the EB2S. The speakers are bi-wireable but. I chose to use my single wired 4mm Van Damme cables with Van Damme 4mm jumper links.
Jim said he was going to probably supply links of their own based on my findings. He also suggested attaching my single wired cables diagonally on the terminals so one connection was on the top right terminal and the other was on the bottom left. Jim claimed some had preferred the EB2S wired this way. I will reserve judgement here. The bass unit is a mm Visaton model and the tweeter a 25mm Monacor soft dome design. The crossovers are built in-house and rather than using off-theshelf components, all the components in the crossovers are either hand-built or custom manufactured in Britain.
Each inductor is inspected and its value checked and adjusted to meet the design values. Crossover components are mounted by hand on custom-made circuit boards which are gold plated, designed to minimise any losses due to skin effect… it also has the advantage of easing the soldering process, where lead-free solder is used. The crossovers are built in-house and rather than using offthe-shelf components, all the components in the crossovers are either hand-built or custom manufactured in Britain.
Top to bottom detail was excellent and I particularly noticed early on how clearly the tweeter could portray very realistically the sound of instruments like cymbals and tambourines.
Sound The EB2S had a fine reputation from a few years ago, but I had no preconceptions having never heard them before and the original designer Richard Allen was a name from the past I recognised but I had no experience of his products. After a week or so of running in I started serious listening and I must say I was very impressed.
For quite a large cabinet in my listening room they disappeared very easily sonically and provided a detailed 3D image on a large range of.
A lot of this music is from the eighties and I. It was a great era for music and well recorded albums. I love this style of jazz rock and as always Sting has top musicians playing alongside him. I really felt involved with the show and although not quite the same as being there it was a close second for enjoyment.
Coupled with good sources and amp they really shine. I am sure that on any other decent system from reputable manufacturers that the EB2S will not let you down. In case you are not familiar with the name Unison Research, it is an Italian company in business for some 20 years or so at Treviso, a municipality just to the north of Venice, with a well earned reputation for producing some excellent hifi components.
Dominic Marsh has a play with their Triode 25 valve amplifier. The sample supplied for review sported a real Cherry wood fascia which I found rather attractive and a welcome change from the ubiquitous black or silver finish.
The remainder of the chassis is painted black however and as a foil to that the valve bases are inset into two polished alloy heat shields which extend from the front panel in a sweeping arc upwards, meeting the top plates of the transformer covers. The end user has a choice of power output modes between Pentode and Triode. Triode mode has a lower output wattage, but has greater detail and clarity.
Front panel controls consist of a machined alloy rotary knob to the left which is the source selector and an identical rotary knob for volume control to the right of the panel. To the rear we find from left to right, an IEC power inlet socket with integral fuse holder, the fuse rating depending upon mains input voltage, the value thoughtfully printed on the transformer cover above.
Then we find a set of four speaker binding posts, able to accept 4mm banana plugs, spade connections and bare wire. There is no biwire facility or catering for more than one pair of speakers. It is supplied with a remote control handset. Sound They say that EL34 valves have a sweet sound to them, but that has more to do with the design implementation of the circuitry, especially in the output.
Unison Research really have got the recipe right with this amplifier as it sounds sublime to me and I could sit here and probably type a hundred superlatives and you would probably read it in disbelief, so I am going to have to justify in words the sounds that I heard from this amplifier.
The interesting part of this review was pairing the Unison Research amplifier with different speakers, one of which was supplied with this amplifier and a Reloop turntable as the source, all from the same distributor as one of their recommended packages. I first coupled the Unison Research Triode 25 into my resident system and immediately it was apparent just how lucid and insightful this amplifier really. Trust me when I say it took no effort at all to listen to this amplifier producing real music, bursting with tonality and dynamism in a truly effortless way.
I have heard other EL34 amps produce this level of sound quality, but the Unison Research had that top level of polish and refinement that to date I have not heard elsewhere from EL34 valves. Hard to describe, but the sound had a rich liquid silkiness which you might infer as being masked or veiled, but not so. Leading edges were crisp and sharp enough to have a shave with, but not sharp or edgy either. I bet you valve fans are muttering under your breath at reading this, but you play something like.
This was no real surprise as I have yet to hear any valve amplifier compete with that, so living with a valve based power amplifier is all part of the whole package for me. You pays your money and takes your choice, as they say.
Bass had a less prodigious quantity and was all the better for that when paired with the Unison Research amplifier, providing a better balanced sound. In fact, I purposely left the Audiovector speakers connected for quite some time. The cymbals sounded exactly like struck cymbals should sound like, full of vibrancy and energy so you were in no doubt at all that metal was being hit.
Of particular note was how real the audience sound was, seemingly surrounded by some very enthusiastic clapping and cheering. To be truthful, this is the kind of presentation I enjoy for my personal listening; excitement and dynamics without being sonically. Next into the fray came a pair of Opera Mezza speakers.
Out with the Opera speakers and in with a pair of Roksan K2 TR-5 S2 speakers, which have a superb ribbon tweeter and larger cabinet dimensions than the Opera speakers, so I was expecting a lot more bass. Bass indeed now took a good leap forward and the ribbon tweeter coupled with the silkiness of the Unison Research amplifier was a great marriage.
If I were in the market for a valve amplifier then this would probably be the one I would buy. I listened very hard for any fuzziness, harshness, noise, distortion, ringing, muffling, or veiling and I found none. Sure, the bass lacked concussion inducing power but I could live with that, as what was there was clean with no trace of bloom or boom, which does annoy the heck out of me.
On the positive side it has a sweet beguiling sound that you can listen to for many hours and not once will it displease you in sound terms.
It is well specified, well built and easy to maintain too, especially the built-in bias adjustment settings. Comes with a great remote control and that pleases me too. In summary then, if you hanker for a valve amplifier then this one HAS to be on your audition list for sure and I give it a high recommendation. AT A GLANCE Build Quality: Beautifully crafted in every respect and the design is a tribute in how to make a valve amplifier not look like an ordinary run of the mill valve amplifier Sound Quality: Sure footed and highly mellifluous, you owe it to yourself to audition or miss a sonic bargain Value For Money: As it stands head and shoulders above the herd in sound and build quality, it has to be good value for money Pros: Build, sound, ease of maintenance and a remote control.
You really are being spoiled with this one. Cons: None, except for a slight shortage of gut thumping bass power, to be expected though. I suppose that means that I can happily ignore any preconceptions or rely on recalling the performance of any previous models and take what is placed before me to review at face value. A simple contemporary design sits well with me and the Cyrus ONE amplifier ticks those boxes.
There is also a pre out facility which can be used for an additional power amplifier or combined with the AV input for an AV system loop through connection.
These are provide by single ended RCA connectors on the. However, because there are four closely grouped binding posts per channel, I found it nigh on impossible to fit spade connectors that my own speaker cables are terminated with. The binding posts themselves are made with the bare minimum of metal with plastic forming most of the construction, which did let the amplifier down a tad. I would much rather have two good solid binding posts, as those folks that have a predilection for biwiring are able to buy suitable speaker cables terminated with two to four connections, the two connections fitted at the amplifier end and the four connections at the speaker end.
The front panel is made from a shiny black plastic and the outer case is made from sheet steel with a black finish. The steel is only just of a thickness that I would call adequate, which is a sign that pricing played a major part in the design decisions made by Cyrus.
At switch on, the amplifier performs a self test routine which activates the LEDs in sequence, first incrementing then decreasing, so the source LED set ends with the previous selection and the volume LEDs track all the way down to zero, although I would prefer the previous listener volume setting, although that is a minor niggle you learn to easily live with.
The ONE can also be controlled by Cyrus's app. I got in touch with Cyrus who said the SID circuit was responsible and an upgrade to the latest firmware would cure this. I found it agile and fleet of foot, full bodied too and clean sounding in the mid frequencies.
No peaks, no troughs, no rough edges, no glare, no harshness, no brightness, no overblown or anaemic bass, no holes at all within the audible spectrum. Should I be pleased or concerned by this? Into my resident system it went then and it gave a good account of itself, by having excellent control of my speakers in the bass registers and not provoking any fizz from the tweeters which are only a whisker away from with using inferior amplification.
Good result. Finally a pair of Audiovector QR1 speakers was hooked up, again endowed with a superb ribbon tweeter that paired really well into my resident system and equally at home being powered by the Cyrus ONE amplifier too.
This was my favourite pairing with the ONE amplifier as it gave a stunning performance that you could listen to for many hours without fatigue or becoming jaded with the sound, as each CD had new windows into the music being added.
If ever I get the urge to downgrade or cease reviewing maybe a second system perhaps? I might be tempted to seek out. Bass was full and rich, kick drum had a solid powerful punch to it, female vocals clear and vibrant, treble fast and clean too. I listened to the entire album from start to finish and try as I might I couldn't find any real fault with what I was hearing. Time for something a bit more challenging then.
Track one is the title track 'Deadwing' and gets pretty raucous and frenetic in places that easily wrong-foots many systems. At five minutes 40 seconds the pace changes to a much slower one and it's a merciful relief at times.
Then a minute or so later there is a long low bass guitar riff that must roll out of the speakers seamlessly and full of powerful energy, that I pay extra special attention to as a benchmark test.
Of course these are very much coupled to the price a component commands, where it sits in the market against any competitors and notwithstanding the claims made by the manufacturer, so there is a complex sliding scale involved here too and where I need to I will be critical on high price tag items and a lot more forgiving at the budget end of the scale.
Nevertheless, there are specific criteria there for all to meet. The Cyrus ONE has plenty of power and low down grunt for this task and to generally convey the driving bass and drum lines during the entire track, carried along by the audience clapping along. Imaging and soundstage were up to the mark if not to an exceptional level, with good instrument placement, good depth and height, the width only just outside of the speaker boundaries.
It all has to flow in seamless harmony, in time, in tune, with no drop outs, smearing or clashing. I was though very impressed at how the Cyrus ONE managed to hold all of these in check in an insightful and unflappable way.
Arguably, the remote control handset could be a more substantial affair Although I believe other Cyrus amplifier remotes will work , a thicker gauge of steel in the casework and how much more would a set of good quality single run wired speaker terminals cost in reality?
Cyrus have obviously looked at those costs already and cast their die in the design specification brief, so you either live with it or not as your own conscience dictates. Sure, that final level of fine detail could be addressed, but there is always the fear that harshness could creep in via putting that right and I would sooner take the amplifier exactly as it is than the risk of adding some rough edges in there by trying to cure that. If that is true, then that negates an awful lot of synergy fears for prospective buyers.
Nothing broke or fell off during the evaluation. The speaker binding posts could certainly be improved Sound Quality: Apart from a slight curtailing of detail at the extreme treble, it gave a full satisfying sound quality, free of harshness and fatigue. Danish brand Densen need little introduction to audiophiles in the know. However, for those who are not familiar with the name Densen, I can tell you that the company has been trading for over 20 years, is located in Denmark and highly regarded for their quality products.
Simplicity of their designs especially the casework has been the keystone of all their designs and unmistakably and uniquely Densen in the implementation. The slim line case and simple front panel controls have always been the hallmark of a Densen product and so no surprises then that the BXS integrated amplifier follows in the same layout style. The review sample was supplied in a brushed black anodised finish and when it came to giving it a dusting I made the mistake of using a yellow fabric duster which left tiny particles where I had dusted, leaving it looking powdery and smeared.
A lint free damp cloth did the trick. Given that it is a rather compact unit it is surprisingly heavy, due no doubt to the large and heavy toroidal transformer contained within. The front panel controls consist of four chrome plated. For those that require a digital to analogue convertor, a plug in Densen FabelDAC module is available, so there is no need to change models for these facilities, simply plug them in as required.
Sound Quality. It did sound a bit heavy and laboured at first hearing fresh out of the box, but within 25 or so hours it began to sound a lot more free and open, so at around hours I began to listen with the amplifier in my system until I had clocked up the required running in period and then began the evaluation.
At first hearing it did surprise me to say the least. I played a large variety of music through the amplifier and it coped well with every CD that I played, ranging from large orchestral pieces, to heavy rock and acoustic music.
Wow, that IS impressive in my book. Each audience reacts differently too and this is one of the very few amplifiers I have installed into my system that really does make you feel you are sat in amongst the audience. If it did, I would have no hesitation at all in saying so.
The Roksan speakers have a healthy bass output and a smooth silky top end from their ribbon tweeter and this pairing was a real joy to listen to with many hours of smooth detailed fatigue free listening.
The crisp edges of the chassis coupled with the heavy weight of the amplifier left red weals on my fingers when moving the amplifier around, although for the end user once installed it will be no further problem.
This is no cheap budget amplifier bought either lightly or in haste for sure and Densen acknowledge that by giving a lifetime warranty with all their products to the first owner, so that adds real value to the purchase price.
It can be upgraded with additional external power supplies, a DAC board, surround sound facilities and two phono stages too if that is your desire, so you are not stuck with the one basic model or have the need to buy a better read more expensive model as your needs change over time.
A good plus point. It easily separates out complex musical strands and presents them as individual entities with no clashing or smearing. Imaging too is precise and three dimensional, extending way out beyond the speaker boundaries, with depth and height well portrayed.
Sound quality is refined and powerful, with seemingly unflappable power delivery. Timing is excellent, transients delivered with both speed and power, while at low level listening it is as clear and lucid as it is at high volumes.
Contemporary yet ageless styling Sound quality: Surefooted and powerful, the specifications belie the raw energy this amplifier can produce Value for money: Not in a budget class purchase by any standards, but this is a lifetime purchase with upgrade options available. Janine Elliot gives it a whirl. This new Echo Diastasis phono-stage from Greece is the fourth product in his portfolio, all sharing the number 79, and replacing the PH-7 phono-stage before.
This new model has many developments over the previous model including being a dual mono design and featuring two E —core transformers, as used in their other products, as opposed to a single toroidal in the PH It also comes with better parts and materials, and a different circuit design. It is also significantly better looking though much bigger. The number 79 was very special to me; the year I started university, and the number of strands on my first serious cable.
Nowadays, I am still playing the guitar as a musician and composer and got 7 electric guitars and 2 acoustics So much emphasis over the years has been on playing about with feedback, and whilst zero negative feedback is not a new idea, it has recently seen a lot of publicity.
Zero negative feedback can, however, be. George informed me that this kind of feedback is very small, and the gain stages are ultra linear. Whatever the magic in this design it certainly does contribute to some very pleasing listening I had during the few weeks of reviewing this unit. The pros and cons of feedback in a design is a complex story.
In its simplest term a circuit with negative feedback aims to remove distortion by feeding back a negative sample of the signal onto itself, something that I learned about when Quad introduced their iconic current dumping power-amp, though had actually been present in earlier amplifiers.
Different ideas, then, that aimed to have the same outcome; that of a pure, distortion free output. If not done correctly they can actually increase distortion and even oscillation.
Using such systems does however mean more components and effectively two amplifiers per channel, which can have their own drawbacks and increased cost. With an additional noise rejection stabiliser and a design ensuring that the low level phono cartridge signal is amplified without any unwanted noises, this is indeed a very quiet amplifier. It was an excellently flat response, working well on all types of music.
The unit is also a dual-mono single ended full Class A product which for me was a welcome sight. The PH79 also has their proprietary noise-cancelling technology that practically obliterates current noise. Freedom Sounds - Tuff Gong Music.
Harry J - Crystal - Reggae Got Soul B. Moodisc Records - Reggae Hits '69 Vol. Joe Gibbs Music - President Records - President - Dodd Comment : 2 cds. Return to Umoja 1. Carpentry [dub Of 'carpenter'] 6.
Lagos [dub Of 'money,' The Heptones] 8. Pablo, Vocals By Deb] Still Water [tamlins In Dub] Grab And Flee [dub Of Jr. Delgado's 'armed Robbery'] Hungry Town Records - Message - Stable - Freezing. CSA - Trybute Records - Matador Records. Different Drummer Soundsystem Small Axe Feat. Wood 'N' Spoon Chucky Dub Disco Style Kaleidoscope Fila Brazillia. Silver Camel - On-U-Sounds - Singles Mix vol 1 Jr.
Studio One -A1 - Jah Woosh - Free I Soul A2 - Jah Woosh - Uncredited Track [tnt] A3 - Jah Woosh - We Must Get Over A4 - Jah Woosh - Guide I Protect I A5 - Jah Woosh - Live It Up Black People B1 - Super Star - Harry Never Worry B2 - Super Star - Move Up Hutch B3 - Clancy Taylor - Spit In The Sky B4 - Clancy Taylor - Monica I Love You B5 - Mexicano - Lovers.