Joining praise by HiFi News in May, and Home Cinema Choice in its Summer issue, a new verdict from Hi Fi Choice for the Prime Pinnacle speaker confirms that SVS is raising its game from great subs to serious full-frequency systems. It says “There’s so much more to this floorstander than just pure bass brutality…Sure, the Prime Pinnacle’s natural proclivity towards the low end is a key part of a soundstage that’s as big and
Transparency underpins the ‘mesmerising’ R15 says David Vivian in June’s Hi Fi Choice mag. It ‘delivers a solidity and sense of authority that makes it easier to imagine being in the presence of living, breathing, musicians’. This is ‘an affordable phono stage for serious vinyl lovers’. DOWNLOAD THE FULL REVIEW FROM THE PRODUCT PAGE HERE
So says Stephen Withers of the Emotiva XPA-11 modular 11-channel power amp for May’s Home Cinema Choice mag. “The Emotiva has power in spades, he says “and can drive the most demanding of systems, but in amongst all that brawn is a balanced sound that’s tight and responsive and really impresses. The fact it’s also well engineered, solidly built and competitively priced is the icing on a perfectly machined aluminium cake.” Download the full review
April 26, 2020
BAT’s MAGIC DAC
May 2020’s issue of Hi Fi News – the UK’s leading high-end hi fi journal – has a tip for all music lovers. In awarding its top ‘Outstanding’ badge to Balanced Audio Technology’s new Rex 3 DAC it says “Despite what some would have you believe, all DACs don’t sound the same, and they certainly don’t all deliver in musical terms as well as the REX DAC 3. Simply, this unashamedly expensive converter gets you
April 11, 2020
‘GETS THE VERY BEST FROM ANY CARTRIDGE’ (seemingly)
Says Adam Smith about the Primare R35 phono stage in HiFi News’ May issue. ‘…the R35 has strengths that transcend its price point, especially in the way it projects performances out into the room. lt can setup a realistically three-dimensional soundstage with seemingly little effort, while also offering an impressive sense of front-to-back layering. As a result, backing effects are typically kept exactly where they need to be and are not unrealistically pulled to the