• SoundStage! Encore - The Cowboy Junkies'
  • SoundStage! Shorts -- Anthem's STR Integrated Amplifier (May 2017)
  • SoundStage! Shorts -- Paradigm's Perforated Phase Alignment (PPA) Lenses (March 2017)
  • SoundStage! InSight -- Paradigm's Persona 9H Loudspeaker (March 2017)
  • SoundStage! InSight -- Contrasts: Dynaudio's Contour and Focus XD Speaker Lines (February 2017)
  • SoundStage! Shorts - New Technologies in MartinLogan's Masterpiece Series
  • SoundStage! Shorts - Dynaudio/Volkswagen Car Audio (December 2016)
  • SoundStage! InSight - Gryphon Philosophy and the Kodo and Mojo S Speakers (January 2017)
  • SoundStage! Shorts -- What's a Tonmeister? (November 2016)
  • SoundStage! InSight - AxiomAir N3 Wireless Speaker System (December 2016)
  • SoundStage! InSight - Bang & Olufsen BeoLab 90 (November 2016)
  • SoundStage! Shorts - Gryphon Diablo 120 Integrated Amplifier (October 2016)
  • SoundStage! InSight - Dynaudio History and Driver Technology (October 2016)
  • SoundStage! Shorts - The Story How Gryphon Began (September 2016)
  • SoundStage! InSight - Devialet History, ADH Technology, and Expert 1000 Pro (September 2016)
  • SoundStage! Shorts - Devialet's Phantom Loudspeakers (August 2016)
  • SoundStage! InSight - McIntosh Home Theater and Streaming Audio (July 2016)
  • SoundStage! Shorts - McIntosh MC275 Stereo Amplifier (June 2016)
  • SoundStage! InSight - McIntosh History and Autoformer Technology (June 2016)
  • SoundStage! InSight - NAD Viso HP50 Headphones (May 2016)
  • SoundStage! Shorts - GoldenEar Technology's Anechoic Chamber (May 2016)
  • SoundStage! Shorts - PSB's M4U 4 Earphones (April 2016)
  • SoundStage! InSight - GoldenEar Technology's Triton Two+ and Three+ Loudspeakers (March 2016)
  • SoundStage! Shorts -- KEF's LS50 (February 2016)
  • SoundStage! InSight -- Monitor Audio's Platinum II Series (January 2016)
  • SoundStage! Shorts -- Pryma 0|1 Headphones (December 2015)
  • SoundStage! InSight -- KEF's Blade Two Loudspeaker (November 2015)
  • SoundStage! InSight -- KEF and the Uni-Q (October 2015)
  • SoundStage! InSight -- Monitor Audio Acoustics & Aesthetics (August 2015)
  • SoundStage! InSight -- PSB's Imagine T3 Loudspeaker (June 2015)
  • SoundStage! InSight -- Hegel's H160 Integrated Amplifier-DAC (April 2015)
  • SoundStage! InSight -- MartinLogan's Neolith Loudspeaker (February 2015)
  • SoundStage! InSight -- Paradigm's Prestige Series (December 2014)
  • SoundStage! InSight -- Vivid Audio's Giya Series (October 2014)
  • SoundStage! InSight -- Totem Acoustic's Torrent Technology (August 2014)
  • SoundStage! InSight -- Axiom Audio's M100 v4 Loudspeaker (May 2014)
  • SoundStage! InSight -- Muraudio's Domain Omni Series (March 2014)

Please send all questions to feedback@soundstageaccess.com. All questions sent to this e-mail address will be replied to online. If you do not wish to share your e-mail with other readers, please do not send it. But if you have a question, chances are others are wondering the same thing. Therefore, you will be helping not only yourself, but other readers as well when your question gets answered here.

To Hans Wetzel,

I recently read your article, “Paradigm Lost,” and it got me thinking about the two Paradigm products in the Shift series. What do you think is a better value between the Shift A2 and the Millenia CT? Both are within $100 of each other and I believe both can be used for music and home-theater playback in a small room. I was wondering what your thoughts were about these products.


That's a great question, Rajan. In my mind, the Millenia CT is best used in conjunction with a television. It is much, much better than a sound bar; it will give you pretty deep bass, and is more manageable than the Shift A2 as far as positioning goes, even with the sub. I'd bet the Millenia is the better choice for home theater, for what it's worth, because the dedicated sub is deceptively good, if not quite as excellent as the satellites. The remote control is also handy, as far as TV use is concerned, but I would imagine not so much when used on a desk. You can only use the Millenia CT with its included remote, which means that if the little guy goes missing, you're quite out of luck.

On a desk or bookshelf, I think the Shift A2 is the better choice, what with its auto on/off functionality, lack of need for a remote, and more compact packaging, as it doesn't have a sub. Performance-wise, I would imagine the two systems to be fairly similar, short of bass extension, which obviously tips in the Millenia CT's favor. So my final advice would be to pin down exactly how you'll use a pair of speakers and go from there. I use the Millenia CTs with my television, but would probably go with the Shift A2 in most other applications. Both are quite good, however, so you can't go wrong with either. . . . Hans Wetzel

To Hans Wetzel,

Nice job on the review of the Rogue Audio Sphinx, Hans. Your review matches my experience very much, as my system is neutrally balanced and I can hear changes very well. Mark O’Brien, Rogue’s proprietor, has voiced the Rogue very much like the rest of his amps -- neutral. This gives the average guy like me a chance to hear the system as a whole and its balance. Changes can be made easily by substituting tubes. I hear the occasional hot sibilance you heard and found adding a Pangea Audio power cord helped to tame it. I find very little to grumble about other than some control looseness. But the amplifier is solidly built and exudes an old-school American quality I find very pleasing. This is great value for money and I think this would make a great choice to power those new Magnepan Super MMGs!


Thanks for reading, Vic. The Rogue is a really solid piece of equipment. While it’s not totally neutral -- that tube does tend to offset the class-D section somewhat, and the sound is a little rounder than you’d expect from a dead-neutral design -- it’s still terrific for the price. I would imagine that substituting new tubes will void the Rogue’s factory warranty, but it does offer some options going forward. And I’m glad to hear you had success with the Pangea Audio power cord. I’d also agree that the Sphinx would not be a bad choice for the Magenpans, though I am not positive how it would fare pushing a 2-ohm load, which can sometimes happen with panel-type speakers. I’m not sure what load the Super MMGs present, mind you. Regardless, enjoy the Sphinx. It would be my top choice for an integrated under $2000. . . . Hans Wetzel

To Hans Wetzel,

I just read your informative review of the KEF R900 loudspeakers. I noticed you had a Rogue Audio Sphinx integrated amplifier in your rotation of components, but you did not say much about it. Is a review forthcoming?

Greg Newman

Greg, I actually just finished up the review of the Sphinx. It’s a terrific little integrated, and the review is set to be published on July 1. Check back then to see my thoughts, as well as to get a hint of other reviews that will be posted in the coming months. . . . Hans Wetzel

To Hans Wetzel,

I enjoyed your review of the KEF R900. I hope you are still enjoying them. I heard them at the recent New York Audio Show and really enjoyed them. In fact I enjoyed them so much, that my pair will be arriving Monday.

I was hoping you might share some thoughts on driving them. Currently I have an Arcam A32 and a P35 to passive biamp them. The more I read, the less I think of passive biamping. As funds become available I am considering my upgrade options. I'm thinking of getting an integrated with less than 200Wpc. Considering Hegel -- read your review -- or maybe Plinius. Appreciate any thoughts.

Mike Breunig

Arcam makes some great, neutral-sounding stuff. I actually have the A19 integrated amplifier in for review right now. Given the age of your components, however, I can understand the desire to upgrade. While I can definitely recommend Hegel's products, as I own the H300 integrated and have spent some time with their P20 preamplifier, I am not familiar with Plinius's products. But the Hegel H100 would be a solid start.

Arcam's A38 might be a good replacement, given your Arcam experience, and I have found that Rogue Audio's Sphinx integrated amplifier (GoodSound! review to come) works well with my KEFs. This is just a smattering of suggestions, and all are good products. . . . Hans Wetzel

To Hans Wetzel,

Thanks for your review of the KEF R900s. I have them too, and like them very much. They are the biggest and best I could find, and I like to listen to them. My daughter had a sweet-16 party last week and we enjoyed them at maximum volume!

Dick de Jong
The Netherlands

I am not surprised that you're so enjoying the KEF R900s. Despite having had more expensive speakers here over the past few months, I don't feel that I'm taking a big step back when the R900s get hooked up again. And I don't doubt that they sounded clean at maximum volume. I would bet they'd fill all but the very largest room with clean, undistorted sound. Enjoy! . . . Hans Wetzel

To Hans Wetzel,

After reading many reviews, including yours, of the Hegel Music Systems H300 integrated amplifier-DAC, and seeing that you've chosen it for your reference, I purchased one. I have KEF LS50 monitors, which are very much like the KEF R900s you now have as well, in character if not kind. My only source currently is an Apple iMac into the USB DAC on the Hegel, so it is a simple and elegant system.

This is my first experience with higher-end audio and since your system (or parts of it) is so like my own I wonder if I could ask your advice? I have two questions really. The first is to ask your experience with speaker cables. I purchased a pair of Kimber 4PRs to run things in for a few weeks to get a feeling for what the system really needed. I love the high-end detail they bring out, but the low end is overly lean and they can be quite harsh with poor recordings, of which there are many more than I realized. I am presently assessing the Acoustic Zen Satoris, which bring out the lovely liquid midrange in the H300 that the Kimbers only hint at and a substantial body they lack entirely. Perhaps overly so? Still, they make acoustic instruments like piano and those in orchestras very real and present in a way that's hard to fault, and the Kimbers never made me want to get up and shake my ass the way the Satoris do. Unfortunately all this comes at the cost of the midrange and upper detail the Kimbers offer. With the Kimbers I can clearly hear lyrics I had trouble understanding before and with the Satoris, though the voices have weight and presence, I can't hear what the hell they are saying too often for my liking. Also, perhaps rather oddly, although the Kimbers have more "air" (i.e., separation and clarity), the Satoris give a more realistic sense of the physical recording space. With the Kimbers, I can hear more overtones in an acoustic guitar and when playing Cyndi Lauper's "True Colors," there are second voices above and behind her and it sounds like she's whispering the song into my ear with intimacy and immediacy. On the other side, with the Satoris the plane at the opening of "Back in the U.S.S.R." sounds like an actual jet. Also, much to my shock, listening to the rest of The Beatles, aka "The White Album," for the first time ever the Beatles sound like real flesh-and-blood people rather than the slightly angelic voices I've always heard before.
I guess you could say the Satoris bring the body and soul where the Kimbers have a spiritual, if slightly disembodied, quality.

I'm looking for the holy trinity I suppose. Have you any suggestions? I've been reading good things about the Magnan Signatures (5"-wide copper-ribbon cables), but I gather the founder has retired and the company has closed down. There's a set of Inakustik LS1602 demos listed on Canuck Audio Mart that are highly touted. It seems crazy to put $5000 cables on a $1500 speaker, but they are great speakers and the cables are listed at 70% off. There is also a set of Stealth Hybrid MLT demos listed on CAM as well for $1400. If these or anything else perhaps closer to earth come to mind, please let me know. (I've heard the DH Labs Q-10 Signature is inexpensive and very good, but have been cautioned against mixing silver cables and metal drivers. The Stealths have some silver as well.)

My second question is about the Hegel's power requirements. With its proprietary feed-forward Sound Engine circuitry, is it as sensitive to A/C noise as other systems? I am in an apartment building with notoriously dirty power, have dimmers on many of my lights, and we're coming into air-conditioner season. And yet, when I crank up the volume full and stick my ear to the speaker without a signal all I hear is silence. Do you recommend specialty power cords or line filter/conditioners with this setup?

Thanks for your time,
Brett Lisk

Brett, that's a delicious little system you have there. I find the Hegel/KEF tandem to be a deeply resolving one, and it sounds like you're enjoying the twosome as well. While I think that cables definitely do make a difference as far as sound quality goes, I don't zealously affiliate myself with one brand or another. I do not have experience with either of the cables that you mention or the respective companies that make them. I can identify with your experience, however. My first pair of reviews for GoodSound! were of Nordost Blue Heaven LS cables, and a loom from Britain's Dynamique Audio. I found the Nordosts to sound more expansive, and a bit more extended at the top end, while the Dynamiques impressed with their outright resolution and bass. I admired the qualities of both. In hindsight, I would say that the Nordosts are a bit "tipped up" at the top end, and perhaps a hair lean through the bass. This seems to be the company's signature sound, of sorts. The Dynamiques, on the other hand, weren't bass heavy, as I originally thought, but simply produced the bass that the Nordosts did not. I suspect you might be running into something similar. If you're not satisfied with either of the cables you're currently using, I wouldn't think you'd find the tonal solution you're looking for by going up the respective product lines.

Your suggestion of DH Labs' Q-10 is probably a good one, as I, too, have heard very good things about that modestly priced cable. You get silver-plated OFC conductors for around $500/pr., which is pretty good value. I can personally attest to the quality of Dynamique Audio's Caparo hybrid speaker cable, which uses 4N (99.99%) silver conductors and 7N (99.99999%) silver-plated copper conductors. They're handmade in England, have a 30-day refund policy if you're not satisfied, and they sound terrific.

Beyond this, however, I can't speak of other brands. What I can tell you is that the notion of silver cables and metal drivers being problematic is utter nonsense. Oh, and no need to go overboard on cables -- $1500 should buy you a great pair of speaker cables and a USB cable that you should never feel the need to replace. Your audio money is better spent on other equipment -- or better yet, your bank account.

As to the Hegel's power requirements, I, too, live in an apartment building, though I'm lucky enough to not have any power issues. If you're hearing nothing but silence out of your KEFs when the Hegel's volume is dialed up, I think you've answered your own question. If truth be told, I am skeptical of the purported benefits from power cords and conditioners. Many believers are fervent in their defense of "clean power" and how significant a change it can have on sound. I bought the Nordost power cords that I currently use along with the rest of my original review set, but only out of a belief that it somehow made sense to keep everything made by the same brand. I probably wouldn't do so again, and won't advocate it until I read of a double-blind study that demonstrates a difference, or hear a product that, to my ears, sounds better than a stock cable into a wall outlet. At least with double-blind tests of speaker cables, listeners can hear differences, even if there's not agreement on which is better. But that's hi-fi audio, then, isn't it? Go listen for yourself, and if you hear improvement then I say, why not? Truth is in the ear of the beholder. . . . Hans Wetzel

To Hans Wetzel,

Nice review on the KEF R900. Do you have any experience with PSB's Synchrony One? Any idea how it would compare? I also noticed the Hegel Music Systems H300 in your system. Have you heard the Hegel separates?


I do not have any experience with PSB's flagship Synchrony One, but I know that it was one of the best speakers that the SoundStage! Network has ever measured in the anechoic chamber at Canada's National Research Council (NRC). We have also measured the KEF R900's little brother, the R500. There is not much of a difference between the two sets of graphs, and that is very much a good thing. The Synchrony One looks to offer a bit of a difficult load for an amplifier to handle, so having a heavy-duty amplifier on hand isn't a terrible idea. Its pickiness is offset by being terrifically linear in its frequency response. The R500 has an averaged frequency response (via the "Listening Window" graph) that is a bit more contoured -- notice the more pronounced depression in the 700Hz to 4kHz range -- that should manifest itself in the form of the speaker sounding slightly relaxed. I heard this quality in the R900, and I suspect it will measure largely the same, but with greater bass extension, a more benign impedance range (making it a suitable partner for many more amplifiers), and less distortion in the bass (via the "Total Harmonic Distortion + Noise" graph). In all, I think the PSB looks quite a bit more attractive than the KEF, and may approach the R900's performance from the midbass on up, but will not have quite the low-end extension that the British speaker does. This is just a supposition, though -- go and listen for yourself, if possible. I know both are very well designed.

With regards to Hegel, I have only heard the $2900 P20 preamplifier, as my brother Erich just finished up his review of it for our sister site, SoundStage! Hi-Fi. Hegel really, really knows how to make a preamp. I heard the P20 in his system for no more than about 15 seconds before realizing that I was hearing a great deal more micro and macro detail than his older, but still very capable Audio Research preamp. Given how resolving the amplifier section of my H300 is, I wouldn't be surprised if their power amplifiers are just as impressive. If I were you, though, I wouldn't make the assumption that the separates are necessarily better than the H300. The Hegel folks told me that the power and pre sections of the integrated are eerily close in performance to their flagship H30 and P30, respectively. With the convenience of a highly capable built-in DAC, I'd suggest starting with the H300, then see if you can justify the (significant) additional outlay that will be required to outperform it. It's really quite good. . . . Hans Wetzel

To Hans Wetzel,

A simple question: What would be the best Benchmark Media Systems DAC for my system, which consists of an Adcom power amp and a Sony ES CD player? I am not interested in computer audio or home theater whatsoever. All I want is the best possible sound between my CD player and my power amp.

Edward J. Roell

While I think Benchmark's DAC2 HGC is a really terrific DAC, as I wrote in my February review, at $1995, I'm not sure it makes a lot of sense for your system and needs. If you are not interested in computer audio, I would go with Benchmark's base DAC1, which sells for $995. Despite its age, I think it is a solid-performing DAC that will offer an audible improvement over the digital-to-analog circuitry in your Sony ES CD player. The only caveat would be that, since you don't mention a preamplifier in your system, you would be forced to use the volume control dial on the DAC1 to change the volume of your system, as the base DAC1 does not come with a remote control. If this is an issue for you, then the decision becomes more difficult, for with the DAC1 HDR priced at $1595, which comes with a remote control, the DAC2 HGC would be just $400 more expensive. At that point, I would probably spring for the DAC2 HGC. I hope this helps. . . . Hans Wetzel 

To Hans Wetzel,

I see that you own the Hegel Music Systems H300, which has a built-in DAC. I'm trying to decide if I want an integrated amplifier with a DAC built into it or if I should buy an external DAC. Since you own the H300, I'd like to know your thoughts.

Thank you in advance,

Jerry, there used to be a time that integrated amplifiers were looked down upon by most audiophiles. I don't think there was ever a good argument for why this was, but I suspect it was a status thing -- someone who bought an integrated was too poor or ill-informed to buy conventionally excellent separates. These days, I think that stigma has largely vanished, and with good reason. It's because integrated amps usually sound just as good as the separates on which they're based, while costing less money.

In the Hegel's case, $5500 for just the amp and preamp in the H300 strikes me as very reasonable. Having a built-in DAC tips the package into "flaming bargain" territory. Yet the DAC section of the H300 is hardly an afterthought. I was told by folks from Hegel that its quality exceeds that of Hegel's $2000 HD20, and comes close to matching the performance of Hegel's flagship $2500 HD25. Jeff Fritz recently reviewed that DAC on our sister site, Ultra Audio, and found it held its own against far more expensive gear. In my experience, the H300's DAC is very good, and combined with the amp and preamp section, make it an easy recommendation.

But you sound like you may be considering other integrated amps that may or may not have a built-in DAC. Here's what I'll say: Most companies have a certain type of sound that pervades their various product lines. If you like a certain sound, and can find an integrated-DAC that fits your desires, I say go for it. However, if you want to strike a balance between, say, the musicality of a Musical Fidelity product and the sheer resolving power of a Hegel DAC, then buying a separate DAC makes sense. For many this kind of "system tuning" is what hi-fi is all about. For me, I want the best balance between maximum utility and maximum sound quality. Hegel's H300 just so happened to fit the bill for me. . . . Hans Wetzel

To Hans Wetzel,

Thank you for the sane and thorough review of GoldenEar Technology's Triton Three. I was curious about the lack of ±3dB and you addressed it nicely. I wish more reviewers would shed more light than heat, as you did in your review.

Richard Pissillo

Richard, thanks for writing. I am glad that you appreciate our approach here at GoodSound! We think it's more helpful and illuminating for our readers than simply waxing poetic on a product. I can only hope that what our other contributors and I write correlate with what listeners are likely to hear in their own listening rooms, nothing more, nothing less. . . . Hans Wetzel

To Hans Wetzel,

I am buying new speakers and don't want to spend much more than $2000 unless I need to. They need to go on stands. I would like to know what your favorite speakers are from this list: GoldenEar Technology Aon 3, KEF LS50, KEF R300, Monitor Audio GX100, Aperion Audio Verus Grand Bookshelf. If there are others I should know about, let me know.


Troy, you’ve singled out some great speakers in this list. If you’re definitely limiting yourself to bookshelf speakers, the KEFs are standouts in this group. The LS50 has received wide acclaim, including from our own Doug Schneider, while the R300 is the smaller brother of my reference R900 loudspeakers (review to be published on GoodSound! in May). The R300 has the benefit of a dedicated bass driver to complement its Uni-Q driver, and this allows for not only deeper bass, but also less distortion through the midrange, as the R300’s Uni-Q is not saddled with the burden of producing full-range sound. Personally, I find the LS50 to be the cooler design, but I’d bet the R300 will play louder, cleaner, and ultimately better than the LS50 for just a little more money.

The GoldenEar Technology Aon 3 should produce a broad, smooth sound for under $1000/pair, as would Aperion Audio’s Verus Grand Bookshelf. The GoldenEar will have greater low-frequency extension than the Aperion, but in the case of both companies, floorstanding models can be had for less than $2000 that bring significantly more to the table.

I can’t be sure why you’re limited to using stand-mounted speakers, but you should seriously consider GoldenEar’s Triton Three and Aperion’s Verus Grand floorstanders, both of which retail for just under $2000/pair. Both of these options will produce more bass than any of the speakers you’ve listed, and probably by a wide margin. I have not taken a good listen to anything made by Monitor Audio, but the GX100 was reviewed on our sister site, SoundStage! Hi-Fi, last year, receiving a Reviewers’ Choice award. I have also seen the GX100 at recent audio shows, and I have to say they are very pretty, and seem well-built. Though their fit and finish might be better, I suspect the GX100s will come up just a little short of KEF’s R300 in sound quality, as the KEF is a three-way design using the crazy-good Uni-Q. You may find the Monitor’s ribbon tweeter to be pretty intoxicating, however.

The only other suggestion I would have is Sonus Faber’s Venere 2.0. At $1699/pair, the stylish Italian bookshelf speakers would arguably be the best looking of this group, with the Monitor Audio a close second. With their matching stands, the price would be right around $2000.

Which is my favorite? By default it would have to be KEF’s R300 since I own its bigger brother, but every speaker here makes a compelling argument for itself in some form or another. The question is which fits your wants and needs, and you can only answer that by taking a listen to them all. Let us know which direction you wind up going. . . . Hans Wetzel