The final day at Ascot opened with still a great deal to see and hear. Doug Schneider was staying at a Heathrow hotel with the EISA crowd, while I was ensconced in luxury at the Macdonald Berystede Hotel & Spa, very close to Royal Ascot. The short drive in each day told me all I needed to know about the area: the only automotive dealer enroute sells McLaren cars, which are, naturally, equipped with sound systems from Bowers & Wilkins.
I arrived first. Doug was still suffering from jet lag, so I spent a little time mooching through the extensive selection of vinyl. I can’t be the only audiophile who is starting to question my addiction to a format that costs £20-plus for a secondhand album—I came away empty-handed. In my experience, you need to spend £5000-plus on a vinyl front end before you start to approach the sound quality offered by a £200 WiiM streamer, and the streamer will give you most of the world’s recorded music for £10 a month. Despite that, vinyl demand shows little sign of abating, but I do wonder if the greed of the record companies who have jacked the price of a new album from £25 to £35 in the past 12 months is going to kill the golden goose.
Doug and I met up again later in the morning and decided to pay a visit to our dinner hosts from the previous night. It had been a great evening with superb tapas—thanks, guys!
Nexus Audio—Estelon and German Physiks
This year, Estelon shared a room with German Physiks. Both brands are distributed in the UK by Nexus Audio and took it in turns to demo their latest loudspeaker designs.
The gorgeous Estelon XB Diamond MK II
First up was Estelon, showing off their new XB Diamond Mk II loudspeaker in a stunning scarlet metallic finish. Even in pictures, it’s hard to convey how striking this loudspeaker is. The XB Diamond Mk II features Estelon’s signature marble-composite cabinet with astonishing sweeping curves to reduce diffraction and avoid parallel cabinet walls. The driver complement includes a tweeter with a 1″ inverted diamond dome, a 6.25″ ceramic-membrane midrange unit, and an 8.7″ ceramic-sandwich woofer, all sourced from Accuton. This design aims to place the tweeter at ear height, but elevates the midrange above this to minimize first-order floor reflections. Bass is augmented by positioning the bass driver very low in the cabinet to acoustically couple it to the floor. With a port to the rear, this loudspeaker will benefit from a degree of space behind it. The price is expected to be around £56,000/pair, depending on the finish. A wide range of colors is available.
Kate Bush’s “Oh to Be in Love” sounded very clear and agile through these speakers, with perhaps a little less bass warmth than I am used to from my ATCs. The sound was open and detailed but still musical, with excellent rendition of temporal information.
Note the midrange above the tweeter
German Physiks has been developing its striking range of omnidirectional loudspeakers for years in an attempt to more accurately simulate the way sound bounces around a live concert venue. On demonstration at Ascot was the Borderland Mk IV floorstander, which is priced between £29,500 and £39,500/pair depending on finish. To my surprise, I learned the automotive paint finishes are actually cheaper than the veneers. On the top of the enclosure is the firm’s signature DDD carbon-fiber driver, which radiates in all directions and extends from 190Hz to 24kHz. It’s mated to a 12″ downward-firing woofer in a sealed octagonal enclosure.
German Phyisiks Borderland Mk IV
Powered by the firm’s Emperor integrated amplifier, the sound was as you would expect: beautifully spacious and enveloping, with a sparkling sonic signature. The selection of music leaned in the acoustic direction, so it would be interesting to see how a pair of Borderlands copes with rock and other genres, but I certainly came away intrigued by this unique design approach.
The Borderland’s extraordinary omnidirectional tweeter–midrange
Henley Audio
Credit where credit is due: Henley Audio put most other distributors to shame with their video monitors displaying exactly what models were playing, complete with prices. All items on static display had neatly printed range summaries beside them, which is ironic, as this was some of the most affordable audio equipment at the show. Teaching megabucks brands how to do marketing—I like it.
Showing the megabucks brands how to do it!
This room contained a huge array of equipment, but of particular note was the launch of the gigantic Musical Fidelity Vinyl 2 phono stage (£9999) and brand-new NuVista 800.2 integrated amplifier (£10,999). This big integrated amplifier is rated at 330Wpc into 8 ohms and has a plethora of line-level connections via XLR and RCA. The new design features a front panel with snazzy LED VU meters, revised power-supply circuits, a rewound transformer for more silent operation, home-theater bypass, and fixed and variable pre-outputs.
Musical Fidelity NuVista 800.2 integrated amplifier
That wasn’t all from Musical Fidelity. They have just relaunched the legendary A1 integrated amplifier. I had a friend who owned the original back in the 1980s, and it was a stunning performer—when it wasn’t on fire! That thing got pretty hot during our teenage music sessions, so we used to stack chilled beer cans on the A1 to try to keep it cool. I don’t suppose Musical Fidelity would endorse such a thing, but they assured me that the redesigned model offers all of the virtues and none of the vices of the original. It offers 25Wpc of class-A power, a useful range of inputs, a tape loop, and an MM/MC phono stage, plus the stunning looks of the original design. It’s yours for £1499.
The new Musical Fidelity A1—you can’t fry eggs on this one
As expected, Pro-Ject showed several new turntables at Ascot, including the 6PerspeX Balanced SuperPack (£2599), which offers balanced XLR outputs as well as the normal RCA, striking clear acrylic looks, and a magnetically suspended Corian subchassis. Pro-Ject says this design is quieter than conventional sprung subchassis designs. The deck also comes complete with arm and cartridge, and is a genuinely impressive package for the price.
Pro-Ject 6Perspex Balanced SuperPack
European Audio Team’s E-Glo 2 phono stage (£7999) caught my eye with its gorgeous backlit Perspex-encased valves—it looks like a perfect amalgam of art deco and vinyl heaven. Accompanying it was the new limited-edition C-Dur Concrete turntable (£6499). I am reliably informed that concrete is considered very “in” at present in interior-design circles. And nobody can argue with the vibration-damping qualities of a concrete plinth.
EAT E-Glo 2 phono stage
EAT C-Dur Concrete turntable
Also new at Ascot was the EAT Forte S turntable (£9399 as shown, with F-Note 12″ tonearm). It looked resplendent with its high-gloss Makassar (ebony) plinth, but is also available in piano-gloss black. This striking design features an oversized 33-pound, 14.2″ platter lined with Sorbothane and capped by a recycled vinyl mat. The bearing is inverted with a ceramic ball; however, two neodymium magnets reduce the load on the bearing. Twin motors drive the platter and the whole assembly is supported on magnetic feet. Jason Thorpe’s review of the Forte S turntable and F-Note tonearm will be published on SoundStage! Ultra on November 1.
EAT Forte S turntable
Harmony HiFi Distribution
Harmony HiFi Distribution assembled one of the most impressive systems at the show with a huge array of elite Gryphon Audio Design components, including a Commander preamplifier, a pair of Apex monoblocks, and a Legato Legacy XLR phono stage. These were in use to showcase a new line of loudspeakers from Sweden’s Marten. Making their Ascot debut were the Mingus Septet floorstanding speakers, priced at £117,000. This extremely attractive four-way design features a 1″ diamond-dome tweeter, a 3″ beryllium-dome upper midrange, a 7″ ceramic midrange, and dual 8″ aluminum-sandwich woofers augmented by two 10″ aluminum-sandwich passive radiators mounted on the rear. All crossovers are first-order designs, and the cabinets feature curved sides to reduce internal reflections. Marten isolators are supplied to decouple the cabinets from the floor.
Gryphon’s flagship amplification amidst other brands
Quite a system!
I sat transfixed listening to this superb system for some time, savouring the beautifully rich plucked double bass on Harry Belafonte’s “Hallelujah I Love Her So” and marvelling at the explosive drama of this system. Sure, you’d need to own a couple of gas pipelines or oilfields to afford it, but isn’t that what these shows are about?
Marten Mingus Septet close-up
Symmetry Systems
The ever-charming Nigel Crump at Symmetry was showcasing a new line of phono cartridges backed by EMT and marketed under the brand Goldenberg. Designed by Micha Huber, who also designed the Thales turntable and tonearm line, these are welcome new entrants in a market where many of the old cartridge grand masters are sadly aging. Ranging in price from £1800 to £3500, the range is positioned to appeal to keen audiophiles with real-world budgets.
Goldenberg cartridge
While there, I did my best not to drool over the HRS (Harmonic Resolution Systems) support stands Crump also distributes—I keep telling myself, “one day.” Perhaps the best news of the show was that the famed cartridge masters at Kiseki are at the prototype stage with a completely new line of moving-coil masterpieces. Expect an early review when they do emerge, because I’m on their trail with the dedication of a bloodhound chasing a rib-eye steak!
Marantz / Bowers & Wilkins
Marantz launched its new 10 Series at Ascot, comprising the Model 10 integrated amplifier (£12,000), Link 10n streaming preamplifier (£10,000), and SACD 10 SACD player (£9500). The Model 10 employs Purifi Audio’s Eigentakt amplifier technology and is capable of delivering 250Wpc into 8 ohms or 500Wpc into 4 ohms. It’s the most powerful integrated amplifier Marantz has ever made. All the usual facilities are available, and the design features a triple-layer chassis with copper shielding, multi-layer PCBs, isolated subenclosures, and meticulous construction. Finish is in either black or traditional champagne gold.
Marantz 10 Series
The range is certainly attractive. All three models feature sculpted front panels, and the Model 10 amp has a glorious gold-mesh top panel that reveals the illuminated and beautifully constructed innards.
Top panel of the Model 10 amplifier
Bowers & Wilkins was showcasing their new 702 S3 Signature loudspeaker (£6999/pair). This tall and elegant floorstander comes in Datuk Gloss veneer or Midnight Blue Metallic. The veneered pair at Ascot looked stunning. Incorporating five drivers, all edged in signature gold bands, the 702 S3 Signature made for an impressive sight. The driver complement comprises a 1″ decoupled carbon-dome tweeter, a 6″ Continuum Cone FST midrange unit, and three 6.5″ Aerofoil woofers. With the Signature edition, you’re not just paying a price premium for a fancier cabinet. B&W has upgraded the capacitors in the crossover to Mundorf MCap EVO SilverGold variants, as well as improved the inductors and redesigned the port, which now vents downward to permit placement closer to a wall.
B&W 702 S3 Signature loudspeakers complete the system
This system sounded big and expansive, but also taut and controlled where rhythms were concerned. Eric Clapton’s recent live recording of “Layla,” from Lady in the Balcony: Lockdown Sessions, sounded very “live,” with great transparency and detail.
Thoughts and reflections
Ascot racecourse in perfect music-listening weather
Ascot is an impressive location for showcasing the very best in audio, and there were some very fine systems there again this year. I admit being disappointed that key brands such as Naim Audio, Linn, Chord Electronics, ATC, PMC, and Technics were not represented. There’s no doubt that high-end audio is suffering from a consumer-spending squeeze just now. Arguably, this makes it more important than ever for brands to seize the opportunity to tell their story and demonstrate their wares. The lack of transparent pricing and model numbers on products at shows remains a source of ongoing frustration. It’s hard to imagine any other industry where this information would be hidden at a customer-facing show.
Ascot is a monumental venue
Of greater concern is the lack of young blood in attendance. As with most audio shows, UK Hi-Fi Show Live seems to predominantly attract people aged 50 or over. This has to change if the industry is to flourish. I hope that every one of you reading this will accept a role as an ambassador for high-end sound. Demonstrate it to your kids and their friends; play a track or two in the dark to people who come for dinner. Give them goosebumps! My 19-year-old daughter and I now regularly sit down and play each other two or three tracks. Only the other night she turned to me and said, “These speakers are amazing.” My daughter may not be in a position to drop £4000 on a pair of ATC SCM40s just now, but when she gets a job and moves out, she’s going to buy her own speakers—and ATC will be at the top of her list. She’s heard their sound, and she feels the same emotional response to music played through them that I do.
As the sun sets on another Ascot show, I find myself pondering the future of the audio industry
The ticket prices for an Oasis or Taylor Swift show tell me that people are prepared to spend large sums of money for a musical experience—even in the jaws of recession. Isn’t it ironic that the industry responsible for bringing music in all its glory into the home seems reluctant to capture more of that spending power? Brands that succeed in the future will be ones that make the case that music in the home on a good system can be every bit as powerful and emotional as it is at Wembley Stadium.
Jonathan Gorse
Senior Contributor, SoundStage!
