on test

56

From time to time a high-end product comes along that generates a buzz, an early marketplace ‘pulse’ that spawns

consumer curiosity and general audio enthusiast dialogue. The genesis of such ac-tivity may be a certain component’s unique design or functional feature, a notorious bloodline or heritage, or simply by virtue of reaching the market at an opportune time.

Recently, among the proliferation of digital-to-analogue converters sprouting onto the market (predominantly at the entry levels), one stand-out high-end DAC that has tongues wagging is the M1 from con-sumer and pro electronics specialist Bricasti Design. A maker of highly-regarded studio electronics, Bricasti has hit the market with a state-of-the-art DAC that is the fruit of some of the best grey matter in digital audio, namely Brian Zolner (ex-Madrigal and ex-Lexicon and now the ‘Bri’ in Bricasti as well as being that company’s president) and

Casey Dowdell (a digital software designer who also worked for Lexicon and the ‘cas’ in Bricasti). AeVee Labs, a company headed by Bob Gorry, ex-Chief Engineer at Madrigal Audio Labs, also contracts to Bricasti.

All this Madrigal and Lexicon über know-how (both Madrigal and Lexicon are now owned by Harman International) has had some obvious design influences on the Bricasti products; quite aside from the treasures hidden inside, there’s more than a passing physical resemblance to Mark Lev-inson components of yore in that smoothly curvaceous gunmetal and silver aluminium external livery.

Multi‑taskingThe M1 DAC is an elegantly-styled single rack-unit full-width component (WHD: 432×305×64mm) with a hell of a lot of on-board technology. There’s no doubt that the Bricasti mandate for this product

was to create a no-holds-barred DAC with substantial proprietary technology aimed at the top-end of the market. For starters, the M1 is a dual mono unit with independent linear power supplies, DACs, DDS clock-ing and analogue stages for each channel. This of course means each channel enjoys circuitry that’s well-isolated from the po-tential ravages of digital noise and a more than adequate power supply(ies). The M1 uses twin Analog Devices 1955 stereo delta/sigma 24-bit 8× oversampling DAC chips, one per channel, in mono configuration and includes Bricasti’s own filter technology.

Bricasti claims an extremely low jitter figure of 6-picoseconds while there’s sup-port for sample rates of up to 192kHz and 24-bits on all inputs except the Toslink input which, as with all optical inputs, has a limit of 96kHz. Inputs are generously provided for by way of XLR AES/EBU, USB-2 (asyn-chronous), SPDIF and Toslink.

Bricasti DEsiGN M1 DiGital-to-aNaloGuE coNvErtEr

On TEST

57

Analogue outputs include balanced XLR and single-ended RCA. Unusually for consumer gear (but fairly common in studio DACs used by professionals), each XLR output features a small back-lit set-screw receptacle that allows fine-tuning of the output voltage from +8 to +22dBm. This has obvious benefits when matching gain to a power amplifier—using the M1 on its higher output levels avoids bit-stripping. An IEC socket, power switch and mini-jack trig-ger socket round out the rear panel.

You’ll be stricken with déjà vu by the front panel’s red dot-matrix display (Mark Levinson Reference redux…) which serves as the information hub for the M1’s status and multitude of functions. A beautifully machined solid aluminium knob serves as the menu navigation and volume control for the preamplification function while, to the right, two rows of buttons serve to switch between inputs, filters and status (internal temperature, phase, sample rate informa-tion) and display (brightness level). A further button switches the M1 into auxiliary mode while the last control button serves as an ‘enter’ command. A standby button on the far right rounds out the buttonry.

Bricasti has conceived its own filtering technologies and the M1 offers easy and quick access to a number of options in that area. There are nine varying versions of linear phase digital oversampling filters (linear 0–8) and six minimum phase filters (minimum 0–5). Each provides subtle but noticeable sonic differences and flavours.

I used the linear 2 filter—but as they say, your mileage may vary.

Finally, the level control allows direct connection to a power amplifier. The level control works in the digital domain and applies across both analogue outputs. The company claims there is no bit-stripping on settings above –7, although it’s suggested the level be set to zero if you’re using the M1 with a preamplifier.

Physically the M1 is beautifully con-structed from CNC-machined aluminium panels that are seamlessly assembled and joined. The extensively perforated top panel allows efficient dissipation of heat from the heavy processing inside. There’s a nice visual touch to the cosmetic approach—in low light you’ll see a mellow red hue that casts upwards from the LED ‘cauldron’ inside. A solid metal remote control can be ordered as an option and it’s provided with a small receiver module that plugs into the mini-jack trigger socket.

solid BricPerplexing as it may seem, the term ‘analogue-like’ is still being used—and over-used—when referring to digital products with outstanding sound quality. I suppose it’s a term that harks back to the days when the majority of CD players and DACs exhib-ited the glare and brittleness of digititis that was absent from vinyl in general. Things have changed, especially in the high-end. And if ‘analogue-like’ is a term of ultimate praise, then it surely applies to the M1.

Here is a DAC that is so resolving, so correct in its re-creation of timbre, so ut-terly ‘musical’ that it’s nigh on the perfect digital product. Feed it a quality transport or a well-configured computer and you’ll be delivered dollops of digital delight.

The close-miked sibilance of Friend N Fellow’s Light My Fire from their ‘Covered’ album (CD and AIFF via MacBook and BitPerfect) was as controlled as I’ve ever heard it. What can sound slightly ‘spitty’ on my reference player and downright harsh

Here is a DAC that is resolving, so correct in its re-creation of timbre, so utterly ‘musical’ that it’s nigh on the perfect digital product.

Bricasti M1 Dac

Brand: Bricasti DesignModel: MIrrP: $11,900Warranty: Two YearsDistributor: Zensati Australiat: (04) 1300 7440E: contact-us@zensatiaustralia.comW: www.zensatiaustralia.com

Utterly musicalFiltering optionsinput flexibility

remote optionalDot-matix display

LAB REPORT: Turn to page 60Test results apply to review sample only.

On TEST Bricasti DESIGn M1 DIGITal-TO-analOGuE COnvErTEr

58

on almost all others sounds natural and just more ‘there/real’ via the M1 conduit. What the Bricasti manages to do is remarkable; it gives you extraordinary resolving power and detail while never, ever, becoming brash. Digititis in absentia. And that’s what the analogue aficionados revel in.

However this level of refinement does not impede transient attack or dynamic contrast. The percussive assault intro on Cat Power’s version of New York, New York (from Jukebox) was delivered with power, speed and a conviction that could threaten the integrity of lesser bass drivers.

The well-recorded snare is equally well-treated with the appropriate snap and

subsequent natural decay. During the re-view process Chan Marshall’s voice, Kelly Flint’s, Chris Jones’, Jackson Brown’s, you name it, they were all rendered with, well… humanity. In other words, the verisimilitude, the truth of their tone was flawless.

The idea or term ‘body’, in the audio lexicon, has always been associated with valve amplification that imparts a sense of solidity and presence to instruments and vocalists as they’re presented within the soundstage.

Rarely would these concepts be re-ferred to when addressing sonic qualities of digital source products. This notion may be pre-Bricasti.

Not only were images razor sharp in focus and placement within a large soundstage—desirable attributes that competent components can easily achieve—but the various strands of in-struments and vocals were given a sense of physicality. A grand illusion indeed.

conclusionBricasti’s reference-standard reverb units are both renowned and respected within professional studio circles.

The Bricasti M1 DAC sees the company straddling both pro and high-end consumer camps, the latter being populated by fickle and trendy enthusiasts. That is a whole dif-ferent ball game. But make no mistake; the bull has been taken firmly by the horns. The Bricasti M1

is an outstanding DAC that offers generous connecting options, flawless build quality and exceptional technology. When it comes to its sound quality, ana-logue sound association or not, it may just be as good as digital sound can get.

Edgar Kramer

Bricasti M1 Dac test results using 16-bit/44.1kHz dataAnalogue Section Result Units/Comment

Output Voltage 2.0102 / 2.0242 volts (Left Ch/ Right Ch)

Frequency Response See Graph dB (20Hz – 20kHz)

Channel Separation 126 / 134 / 122 dB at 16Hz / 1kHz / 20kHz

THD+N 0.002% @ 1kHz @ 0dBFS

Channel Balance 0.06dB @ 1kHz @ 0dBFS

Channel Phase 0.00 / 0.01 / 1.46 degrees at 16Hz / 1kHz / 20kHz

Group Delay +5.21 / –1.93 degrees (1–20kHz / 20–1kHz)

Signal-to-Noise Ratio (No Pre-emph) 105 / 114 dB (unweighted/weighted)

De-Emphasis Error Cct Not Fitted at 1kHz / 4kHz / 16kHz

Linearity Error @ –60.00dB / –70.00dB 0.01 / 0.06 dB (Test Signal Not Dithered)

Linearity Error @ –80.59dB / –85.24dB 0.01 / 0.02 dB (Test Signal Not Dithered)

Linearity Error @ –89.46dB / –91.24dB 0.07 / 0.07 dB (Test Signal Not Dithered)

Linearity Error @ –80.70dB / –90.31dB 0.12 / 0.08 dB (Test Signal Dithered)

Power Consumption 9.07 / 36.98 watts (Standby / On)

Mains Voltage During Testing 243 – 256 volts (Minimum – Maximum)

Generous connecting options, flawless build quality and exceptional technology.

60

lab rEpOrT Bricasti DESIGn M1 DIGITal-TO-analOGuE COnvErTEr

laBoratory test resultsNewport Test Labs tested the Bricasti Design M1 DAC using both ‘standard’ (16-bit/44.1kHz) digital data and hi-res (24-bit/48kHz) data on the basis that the great majority of audiophiles will be con-necting the Bricasti to the digital output of a CD player or CD transport, or SA-CD player, and playing back standard compact discs, as well as using higher-res files from DVD or internet download. In the follow-ing analysis of these results, I will always be referring to the CD-standard results unless I specifically state otherwise. [Although the lab can test using data streams higher than 24-bit/48kHz, I am currently not com-missioning those tests, due to the lack of

recorded material at higher rates. Should this change, or should readers demand it, I will order additional tests. Editor]

Given the number of user-controlled filters, almost all tests were made using the default filter settings, with exceptions made for pulse, square wave and frequency re-sponse tests. With regard to the frequency response, the filters affect the response only above 20kHz, with the sole exception of Filter 1 setting which, after a gentle roll-off above 10kHz (which it has in common with all the other filters) then rolls off the response very sharply at around 19kHz (unlike all the other filters, whose sharp cut-offs don’t take place until well above 50kHz. The frequency response within the audio band is shown in Graph 16: You can see that it’s ruler-flat out to 2kHz, then just 0.1dB down at 10kHz, 0.2dB down at 15kHz, then 0.35dB down at 20kHz except for Filter 1, which cuts off just prior. This means the ‘normalised’ response measured by Newport Test Labs extended from 2Hz to 20kHz ± 0.175dB. (The response below 20Hz is not shown due to graphing limita-tions.)

Channel separation was outstanding, as you can see from the tabulated figures, measuring 126dB at 20Hz, 134dB at 1kHz and 122dB at 20kHz—far more than will ever be necessary in any high-fidelity appli-cation. Balance between the two channels was also excellent, at 0.06dB, and too small to be audible under any circumstances. Interchannel phase was also excellent, being

perfect at 20Hz, just 0.01° at 1kHz and 1.46° at 20kHz. Group delay was typical of the very best DACs—you don’t really get much lower than this with current tech-nology. Bricasti does not appear to have incorporated a de-emphasis filter in the M1, which means that if you play back CDs recorded with pre-emphasis (there are not many of these, and they were all manufac-

Outstanding performance right across the board. Brilliant design and implementation...

Bricasti M1 test results (aEs-17 standard using 48kHz/24-Bit)Digital Section Result Units/Comment

Out of Band Spurious Components –114.507dB

Suppression of Imaging Components –112.731dB (Worst Case)

Level Dependent Logarithmic Gain –14.107dB

Intermodulation Distortion (1) –114.105dB 18kHz/20kHz 1:1 Ratio

Intermodulation Distortion (2) –98.167dB 41Hz/7993Hz 4:1 Ratio

Low Level Noise Modulation +4.68dB Worst Case

Idle Channel Noise –123.639dB CCIR-RMS weighting

Signal-to-Noise Ratio –123.772dB CCIR-RMS weighting

Power Line Products –135.486dB 50Hz

Non-Linear Interchannel Crosstalk (a) –127.037dB 3kHz (2nd-order ref 17kHz/20kHz)

Non-Linear Interchannel Crosstalk (b) –114.227dB 6kHz (3rd-order ref 17kHz/20kHz)

Non-Linear Interchannel Crosstalk (c) –125.691dB 10.040kHz (2nd re 40Hz/10kHz)

Non-Linear Interchannel Crosstalk (d) –110.642dB 10.080kHz (3rd re 40Hz/10kHz)

Absolute Phase Normal Normal/Inverted

61

lab rEpOrT

0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00

-140.00

-120.00

-100.00

-80.00

-60.00

-40.00

-20.00

0.00dBFS

Graph 11. THD @ 1kHz @ -90.31dB recorded level using 16-bit/44.1kHz data. (W dither) [Bricasti]

Newport Test Labs

20.00 Hz 100.00 1000.00 10000.00

0.00010

0.00100

0.01000

0.10000

1.00000

5.00000

%

Graph 19: Total Harmonic Distortion & Noise (THD+N) vs Frequency at -20dB (Green Trace) and -1dB (Red Trace) using 24-bit/48kHz. [Bricasti M1 DAC]

Newport Test Labs

0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00

-140.00

-120.00

-100.00

-80.00

-60.00

-40.00

-20.00

0.00dBFS

Graph 2. THD @ 1kHz @ -1dB recorded level using 16-bit/44.1kHz data. [Bricasti M1 DAC]

Newport Test Labs

20.40 Hz 100.00 1000.00 10000.00

-0.40

-0.20

0.00

0.20

0.40

dBFS

Graph 15. Frequency Response at @ 0dB recorded level using 16-bit/44.1kHz data.

Newport Test Labs

0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00

-140.00

-120.00

-100.00

-80.00

-60.00

-40.00

-20.00

0.00dBFS

Graph 1. THD @ 1kHz @ 0dB recorded level using 16-bit/44.1kHz data. [Bricasti M1 DAC]

Newport Test Labs

0.00 Hz 9600.00 19200.00 28800.00 38400.00 48000.00

-140.00

-120.00

-100.00

-80.00

-60.00

-40.00

-20.00

0.00dBFS

Graph 12. CCIF Distortion (Twin-Tone Intermodulation) @ 1kHz @ 0dB using 19kHz and 20kHz test signals in 1:1 ratio using 16-bit/44.1kHz data. [Bricasti M1 DAC]

Newport Test Labs

Bricasti DESIGn M1 DIGITal-TO-analOGuE COnvErTEr

tured around 25 years ago, in the hey-day of the CD format) they will sound brighter than they should.

Signal-to-noise ratios were outstanding, with the Bricasti M1 returning results of 105dB (unweighted) and 114dB (A-weight-ed) with 16-bit data, improving to around 123dB (CCIR-RMS weighted) with 24-bit data. Mains noise (at 50Hz) was wonderful-ly low, at –135dB. This is a very quiet DAC.

Distortion was also very low. At 0dB recorded level some minor distortion components were visible that appeared to be due to the signal slightly overdriving the analogue output stage, rather than inherent in the signal itself, because almost all the distortion disappeared when recorded level was dropped just one decibel, to –1dB, at which level only two distortion compo-nents were visible, a second harmonic at –110dB (0.00031%) and a third harmonic at –112dB (0.00025%). Excellent perfor-

mance. And, as you’d imagine from the S/N figures previously discussed, the noise floor across the audio band was sitting down at –130dB. Distortion levels contin-ued to drop as recording level dropped, so that at –20dB recorded level, only the second harmonic component was visible above the noise floor, sitting at a level of –119dB (0.00011%). At all lower recorded levels, all harmonic distortion components were below the noise floor, and thus not measureable.

CCIF distortion (Graph 12) shows the two test signals left of graph centre. Either side are the expected sidebands, but they’re 100dB down, and the regenerated signal at 1kHz is at –115dB (0.00017%). There are sampling-related artefacts clustered around 24kHz and 38kHz but these are too high in frequency and too low in level to be audible even under ideal conditions.

Linearity was excellent, as you can see

for yourself from the tabulated figures, with just a 0.08dB error at –90.31dB. Jitter sus-ceptibility was also excellent (outstandingly low) as you can see from Graph 17 which shows it using 24-bit/48k test signal.

I’ve included a few oscillograms here of both pulses and square waves to show the effect the filters will have, and you can see they range from subtle to significant. I’d suggest that the Linear 0 filter should prob-ably be used as your ‘reference’ as to what most DACs will sound like, and as you move further away, the sound will be less techni-cally ‘accurate’… though it may well sound ‘better’ to your ears, depending on your ancillary equipment and the music you’re listening to at the time.

Whereas most DACs have at least one weak area of performance, the Bricasti M1 DAC exhibited outstanding performance right across the board. Brilliant design and implementation. Steve Holding

62

xxx xxxLab RepoRt

ALSO IN THIS ISSUE : CANON EOS 700D PANASONIC G6 NIKON COOLPIX A SE

PT/O

CT 2

013

$8.5

0 N

Z $1

0.99

PANASONIC’S RETRO-STYLED GX7

NIKON D7100 FIRST LOOK!READY TO RELEASE YOUR INNER PRO

TRAVEL PHOTOGRAPHY

MAKE EVERY SHOT A WINNER

D-SLR VIDEO MAKER – EVERYTHING YOU’LL EVER NEED TO KNOW100% AUSTRALIAN

Cam Sep13_001 CoverStage2.indd 1 8/21/2013 4:48:08 PM

WONDROUS WAGON WHEELSWOOFER WORLD IN SSV WAGON

$8.50 /// NZ $10.99

T H E L AT E S T M O B I L E E L E C T RO N I C S T R E N D S & T E C H N I Q U E S 5#2013

LOCATION REPORT – MOTOREX 2013

ALPINE❱FUSION❱MASSIVE❱MTX AUDIO❱NAKAMICHI❱PIONEERREVIEWED

WHEELS SHOOTINGSTAR

VW IN ORION CONSTELLATION

THE HIGH-END ALPINE’S DDLINEAR & PIONEER’S AVIC

AIE513_001 Cover.indd 1 19/08/13 2:19 PM

T H E L AT E S T M O B I L E E L E C T RO N I C S T R E N D S & T E C H N I Q U E S 5#205#205#2

– MOTOREX 2013

SHOOTINGSHOOTINGSHOOTINGSTARSTARSTARSTAR

VW IN ORION CONSTELLATION

NIKON D7100NIKON D7100NIKON D7100NIKON D7100NIKON D7100READY TO RELEASE READY TO RELEASE READY TO RELEASE READY TO RELEASE YOUR INNER PROYOUR INNER PROYOUR INNER PROYOUR INNER PROYOUR INNER PRO

D-SLR VIDEO MAKER – EVERYTHING YOU’LL EVER NEED TO KNOW

Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1Cam Sep13_001 CoverStage2.indd 1

CHOOSE YOUR NEW TV!FULL REVIEWS OF THE BIGSCREEN BRANDS

LGPanasonicSamsung

Sony PlasmaLED-LCD4K UHD65-inch55-inch

YAMAHA’S ULTIMATE AVENTAGEEXCLUSIVE TEST OF THE A5000 PRE-POWER CANE TOA

DS

IN 3D!

AUSTRALIA’S No.1 AV GUIDE Aug/Sept 2013

ISSUE #26/5 $8.95 NZ$10.99

S&I Aug13_001 Cover.indd 1 16/08/13 2:48 PM

ALSO REVIEWED

NAD C356BEEBest budget amplifi er?

Usher AudioDiamond tweeter

Sony SS-NA2ESAmazing

achievement!

MSB Sig. DAC IV PlusHand-made heaven

sings…

Studio 590 bi-radial

horn is JBL’s best yet…

Horn Power! Jul/Aug 2013

A$8.95 NZ$10.99 AVHUB.COM.AU

HF May13_001 Cover.indd 1 17/06/2013 2:04:48 PM

DUAL VALVES!300B or KT88? Full review and test of AudioSpace’s innovative amplifi er...

September/October 2013

AVHUB.COM.AU

SHOW REPORT High End Munich

ALSO

RE

VIEW

ED KrixPhoenix V2 Loudspeakers

PSBHD8Subwoofer

Bricasti Design M1Digital-To-Analogue Converter

A$8.

95 NZ$10.99

HF Sep13_001 Cover.indd 1 8/26/2013 2:46:54 PM

CHOOSE YOUR NEW TV!FULL REVIEWS OF THE BIGSCREEN BRANDSFULL REVIEWS OF THE BIGSCREEN BRANDS

LGLGPanasonicSamsung

Sony Samsung

Sony Samsung

PlasmaLED-LCDLED-LCD4K UHD65-inch65-inch65-inch55-inch

CANE TOADS

CANE TOADS

CANE TOADS

IN 3D!IN 3D!IN 3D!IN 3D!

ISSUE #26/5 $8.95 NZ$10.99NZ$10.99

16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM16/08/13 2:48 PM

Horn Power!Power!

WE’VE GONE ALL DIGITAL

DUAL VALVES!DUAL VALVES!DUAL VALVES!300B or KT88? Full review and test of 300B or KT88? Full review and test of 300B or KT88? Full review and test of AudioSpace’sAudioSpace’s innovative amplifi er... innovative amplifi er...

AVHUB

AVHUB

AVHUB.COM.AU

.COM.AU

.COM.AU

ALSO

RE

VIEW

ED KrixKrixPhoenix V2Phoenix V2LoudspeakersLoudspeakers

PSBPSBHD8HD8SubwooferSubwoofer

Bricasti Design M1Bricasti Design M1Digital-To-Analogue Digital-To-Analogue ConverterConverter

A$8.

95

A$8.

95 NZ$10.99

NZ$10.99

Head On FestivalA L L T H E B E S T F R O M T H I S Y E A R ’ S

Getting To Grips With Nikon’s AF 800mm Supertelephoto

$7.95 NZ$9.90 Volume 69 Number 6

Studio Flash Power Packs

WHAT’S AVAILABLE IN

PP Aug13_001 Cover.indd 1 8/9/2013 1:35:58 PM

TOUCH US PINCH US

NOW AVAILABLE ON ZINIO

for iPad, Android & PC/Mac

SOUND+IMAGE AUSTRALIAN HI-FIPRO PHOTOCAMERAAUSTRALIAN INCAR ENTERTAINMENT

Buy single issues or special three-issue bargain bundles through AVHub.com.au or

www.zinio.com/soundimage