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Mark Levinson #331 (200wpc@4ohms)Bi-Amped To Power The Aerial Acoustics CC-5 Center Channel Speaker.
Magnum Dynalab 102T Triode Tube Analog Fm Tuner with Remote.
B&K Mono Amp To Power a Revel Sub-15, 15" Subwoofer In The Rear Of The Room.
AC Power To The System Is Supplied Through The PS Audio Power Plant Premier And Monster HTS 3600mkII Conditioners.
For the best pricing on all Theta Digital and Aerial Acoustic Speaker products worldwide, call Craig Shumer of Theatermax LLC in N.J.
Theatermax is The Worlds Largest Dealer of these products (732) 616-1010 or go to www.theatermax.com/
More than just an add-on, the Triode Tube Option, or "T" class upgrade, is a sweeping step forward using an entirely new main circuit board. Features of the MD-102T include: A double sided 0.093 thick circuit board with enhanced ground plane design and oxygen free wiring, a.toroid transformer, the Zero feedback triode tube output stage, Solen and Mundorf M-Cap Supreme polypropylene film capacitors.
Synthesis Audio
SYNTHESIS company is a dynamic, fast growing company that looks to the future and, compared with other companies in this field, has been able to anticipate the metamorphosis of the various success factors in the Hi-Fi market.
The company is now among the most important and best appreciated companies in this sector, and this has been thanks to the intuition shown in foreseeing the importance of design and communications, as well as to the capacity to identify already well-known partners, thus enabling it to successfully penetrate foreign markets.
Quality, communications and distribution; a three-dimensional model that guides the development of our company both in Italy and abroad, and allows it to be in perfect tune with the market's latest developments.
From its foundation in 1992, the "Synthesis Art in Music ®" has had as its main objective the design of equipment whose ultimate aim is not just sound reproduction, but also to offer a product that represents refined elegance and musicality all rolled into a single element.
"I was bored at work on a slow night so I decided to set up an Xbox 360 as a Media Center Extender. The results were phenomenal and setup was surprisingly easy."
Windows Media Center as seen on a Sony SXRD projection in the home theater demo area at a Best Buy in Forsyth, IL.
Immerse yourself in your music with the MCD85 SACD/CD Player. The MCD85 with its open chassis design is not only a serious piece of music hardware, but it shows that you are serious about your love of music. With the great success of our similarly retro styled MC275 and MC1502 Vacuum Tube Amplifiers, MA252 and MA352 Integrated Amplifiers, and the warm reception of the recently introduced MC830 Solid State Amplifier and C8 Vacuum Tube Preamplifier that also have retro touches, it's clear that many people want their home stereo system not to blend in, but instead to be distinctive looking. To be put on display. To be a conversation starter. To make the statement that "A Serious Music Lover Lives Here." The MCD85 does all that. And more.
The MCD85 can play store bought SACDs and CDs as well as music from homemade CD or DVD Data Discs. Numerous file formats can be played from these discs including AAC, AIFF, ALAC, DSD (up to DSD128), FLAC, MP3, WAV, and WMA. The USB Audio input supports up to DSD256 and DXD 384kHz, and can be used to stream digital music from a computer or other digital storage device. There's also two coax and two optical digital inputs that support PCM signals up to 192kHz.
MCD85 SACD/CD Player with a pair of matching MC830 Solid State Amplifiers and C8 Vacuum Tube Preamplifier along with XR100 Speakers. All units sold separately.
Conversion of the digital data stored on the discs or in the digital music stream into an analog signal for playback is performed by a quad balanced, 8-channel, 32-bit/192kHz Digital-to-Analog Converter (DAC). Four DAC channels are dedicated to the left audio channel, and four to the right audio channel to ensure truly exceptional stereo sound reproduction.
Both balanced and unbalanced fixed analog stereo outputs are available to connect the MCD85 to your preamplifier, integrated amplifier, and other home audio system components. Thanks to its narrower width and balanced outputs, it can be placed close to your listening position for ease of loading discs, with long balanced cables connecting it to your audio system without fear of signal loss.
The MCD85 employs 2x read speed, meaning all discs placed in its sturdy die-cast tray are read at higher speeds, allowing their data to be stored in a buffer memory for better error correction and tracking. The tray features a new, custom front beveled nose to match the angle of the chassis and provides smooth and quiet disc handling. Disc reading is performed in the high-quality disc mechanism by a twin laser optical pickup that uses a single objective lens with two laser units, with each employing different wavelengths that are optimized for SACD and CD playback. Power Control and data ports allow for seamless integration with other McIntosh home audio system components.
A die-cast aluminum name badge is affixed to each side of the chassis. The front, top and rear of the chassis is polished to a mirror finish – just like on the aforementioned MC275, MC1502, MA252, MA352, MC830 and C8 – making the MCD85 a welcome and matching addition to any system using those models. But the MCD85 is not limited to systems using just those models as it has all the necessary connections and McIntosh design traits to fit into any McIntosh home audio system. The MCD85 features a black glass front panel with direct LED backlighting for improved appearance, silver trim, an illuminated logo, and rotary control knobs. Contact your local dealer to learn more.
Sonus Faber is an Italian designer of handcrafted speakers and other high-end audio equipment based in Veneto, Italy. The name Sonus Faber is derived from a Latin phrase, literally translated as “handcrafted sound,” which makes for a perfect description of the products manufactured by this company. Sonus Faber was founded by Franco Serblin in 1983. Franco had remarkable taste and engineering ability and is regarded as one of the greats in the industry. His ideas are influencing the company’s philosophy until this day.
Pink Floyd Rock Legend Roger Waters at the American Airlines Center, Dallas, TX. Роджер Уотерс и Пинк Флойд в Далласе.
Classic Home Theater - Dallas, TX.
Custom Audio/Video Solutions for your Commercial, Residential, Auto, and Marine needs.
Magnum-Dynalab believes strongly that analog tuners (rather than digital) sound more like music. Though this is a costly design strategy, Magnum feels the benefits are significant and remains one of the only companies making analog tuners today.
The MD-102 employs a tunable five stage analog front end (the more stages, the better), providing station separation without affecting stereo separation. Precision tunable matched IF (intermediate frequency) amplifiers ensure consistent specifications for adjacent channel separation, alternate channel separation and low distortion.
Classic Home Theater - Dallas, TX.
Custom Audio/Video Solutions for your Commercial, Residential, Auto, and Marine needs.
Pink Floyd Rock Legend Roger Waters at the American Airlines Center, Dallas, TX. Роджер Уотерс и Пинк Флойд в Далласе.
Top Shelf:
DirecTV HR-20 HD-DVR On Top Of
The Esoteric DV-50s SACD/CD/DVD Player.
Middle Shelf:
Toshiba HD-DVD Player
Bottom Shelf:
Mark Levinson #333 {600wpc@4ohms)Power To Front Aerial Acoustics Mdl.9's
Organ player at the Church of The Holy Trinity, East 88th Street between 1st and 2nd Avenue, New York City.
Olympus Trip 35, Zuiko 40mm f2.8, Fuji Superia 400.
Audiolab has won more major awards in UK hi-fi magazines than any other brand of high-performance audio electronics.
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Formed in the early 1980s by Philip Swift and Derek Scotland, audiolab earned worldwide acclaim with the 8000A – an integrated stereo amplifier that became a classic ‘step-up’ from the budget models of the time.
During the ensuing years, the 8000A established itself as one of the most successful British amps ever produced, and was joined by a range of electronics including CD players, pre/power amps and an FM tuner. The brand switched hands in 1997, changing its name to TAG McLaren Audio; and it so was known until 2004 when audiolab became part of the International Audio Group and returned to its original name.
“If ever a product defined its market, the 8000A is the one. Reliability, ease of use, engineering excellence and a well-behaved sound are the pillars supporting the justified reputation of the 8000A. Over the years, audiolab’s no-nonsense, evolutionary approach to design has widely been recognised.”
– Audiohile with Hi-Fi Answers.
8000A & P Still used to this day. Have upgraded the power supply,
I have JBL Duet 2's on the back of the couch for when I hook my MBP for music or downloaded movies via mini-display to hdmi. The Bose speakers are on the bookcase and side table.
The Triode Tube upgrade to the MD-102 features matched Amperex Bugle Boy 6922 tubes and close tolerance Mundorf M-Cap Supremes.
Perfect stereo imaging is only possible when the performance of the left and right channels are virtually identical.
probably the best and most congenial bass player in the world and beyond.
we had a beautifully weird and unusual kind of gig-weekend then...
Canonet QL17 GIII & Koda Portra 160 NC pushed at 400 asa
In the tube stage are Mundorf M-Cap-Supreme polypropylene dielectric capacitors. Two capacitor windings are used in these special caps. The two windings are interleaved so that their inductance's effectively cancel each other out. These two windings are connected in series. This means that it takes two 2µF windings to make a single 1µF M-Cap-Supreme capacitor - the same amount that it would take to produce a full 4µF of capacity using conventional technology! A double sided 0.093 thick printed circuit board provides a sturdy base to minimize vibrations that could potentially damage important signal details.
'A Soldier's Song' was performed by Ken Lukowiak who was recalling his duties with 2 Para in the Falklands, especially at Goose Green.
His performance was excellent, along with the the superb surround sound audio that complemented Ken's recounting the events.
One person in the audience had to turn down his hearing aid.
The accompanying audio was very realistic with Aircraft, Shells and bullets flying everywhere.
After the performance there was a question and answer session.
I took along the two books in the photo and Ken the Author kindly signed them for me.
I worked in the Falkland Islands in 1983 and visited most of the battle sites. During the show Ken's recollections meant I could picture the events having been there.
McIntosh MA252 review
An affordable and bold stereo amp from the masters Tested at £4500 / $3500 / AU$7995
McIntosh MA25
Early Verdict
With a distinctly unique style and excellent implementation of both valve-based and solid state amplifcation, the MA252 offers up an affordable option for those seeking authentic McIntosh quality without some of the loftier prices.
The McIntosh MA252 integrated amplifier is the first hybrid integrated amplifier this world-famous American company has ever built. The import of that statement needs to be viewed in the context that McIntosh has been building amplifiers for more than 60 years. So the McIntosh MA252 has been 60 plus years coming, and boy was it worth the wait.
McIntosh MA252
But wait! What is a hybrid integrated amplifier?
Basically it’s an audio amplifier where one of the two amplifying stages uses valves – or ‘tubes’ as our US friends like to call them – to amplify the audio signal, while the other amplifier stage uses transistors.
Because any integrated amplifier has two amplifying stages – usually called ‘pre’ and ‘power’ stages – this means there are two ways to build a hybrid audio amplifier. One way is to use valves for the ‘pre’ section and transistors for the ‘power’ section; the other is to use valves for the ‘power’ section and transistors for the ‘pre’ section.
In the MA252, McIntosh has elected to use the former approach by employing 12AX7a and 12AT7 valves in the preamplifier stage and transistors in the output stage. The reason McIntosh does it this way, rather than the other way ‘round, is to ensure the best of both possible worlds: the sweet sound quality that’s inherent in valve amplification and the very high power output that solid-state devices make possible.
But wait! Is it not possible to get high power output from a valve amplifier stage?
Of course it is… and no-one knows this better than McIntosh. After all, its MC2301 valve amplifier is rated with an output of 300-watts into 8Ω. But achieving such high power output using only valves costs money… lots of it.
The McIntosh MC2301 currently retails for £14,900 / $19,900 / AU$27,995, and it’s just a single-channel amplifier, meaning that you’ll need to buy two of them for stereo, so that’s around £29,800 / $39,800 / AU$55,990 all up for a high-power stereo valve audio amplifier.
The MA252, on the other hand, is rated at 100-watts per channel into 8Ω (160-watts per channel into 4Ω) and it has an RRP of only £4,500 / $5,782 / AU$7,995).
Of course using transistors rather than valves in the output stage means that you also miss out on one of the other advantages of using valves, which is that it’s extremely difficult to drive them into hard clipping.
Unlike transistors, which go into hard-clipping the instant they are over-driven (and sound awful when this happens), valves have an inherent ‘soft clipping’ characteristic when they’re over-driven that can actually make the sound quite attractive. Indeed many guitar players use valve amplifiers with special ‘overdrive’ circuits for this express reason.
To circumvent this, the high-current transistors McIntosh uses in the output circuitry of the MA252 are continuously monitored by McIntosh’s patented ‘Power Guard’ circuitry which monitors the output signal for any signs of overdrive and makes real-time micro adjustments to the input signal to prevent the output stage from being driven into clipping. You will know if the Power Guard circuit is operating because when it does, the colour the valves are glowing changes from green to orange.
At this point valve aficionados should be scratching their heads, because when they’re operating, valves glow an orange-reddish colour, not green. The valves in the MA252 glow green simply because McIntosh has fitted chameleon LEDs underneath them, which emit a green glow that, during normal operation, is bright enough to outshine the glow of the valve heaters. However when the Power Guard circuit triggers, the LED colour changes from green to orange.
If you’re wondering why McIntosh chose green, it’s because that’s the primary colour used in the McIntosh tartan worn by founder Frank McIntosh’s Scottish forebears. The same green has been used in various applications on all McIntosh products since 1949.
There’s one Power Guard circuit per channel, so if only one channel is clipping, only that channel’s two valves will change colour. If both channels are clipping, all four valves will glow that orange colour.
Unlike many recent amplifier designs, which feature integrated DACs, McIntosh’s MA252 is purely an all-analog affair with two unbalanced line-level inputs, one balanced line-level input and a phono input (moving-magnet).
We were really pleased to discover that McIntosh has included an input trim circuit that allows you to adjust the sensitivity of each of these inputs to exactly match the output of whatever component you’ve connected, so that when you switch from one input to the other, the volume issuing from your speakers will stay the same, so you don’t have to adjust volume level every time you switch from one input to another.
Unlike some such circuits, which don’t offer much of an adjustment range, McIntosh’s trim circuit has a full 12dB of adjustment available… and in precise 0.5dB steps too. You can rename the inputs anything you like so long as you don’t exceed a nine letter description and, if you’re not using an input, you can have the McIntosh ignore it completely, so it becomes transparent when you’re switching inputs.
We can see how the transparency function makes sense on a component that has a great many inputs, several of which will inevitably be unused, but when there are only four inputs, as on the MA252, it doesn’t really speed up input selection all that much.
You can also choose to have the McIntosh switch itself off automatically after 30 minutes of inactivity (no music, no controls moved etc), or not. In order to extend valve life, we would recommend you leave the McIntosh in its ‘Auto’ switch-off mode (which is the default), but small signal valves such as the 12AX7A and 12AT7 are not only virtually indestructible, but also relatively inexpensive, so it really wouldn’t much matter if you left the amplifier powered-up permanently.
Installation was mostly uneventful, except that we very nearly missed that instead of aligning the RCA inputs of the two unbalanced inputs vertically – like almost every other amplifier manufacturer in the world – McIntosh has aligned them horizontally.
We decided this made excellent sense, because it means the left input is on the same side as the left speaker outputs, and the right input is on the same side as the right speaker outputs, whereas if they were vertical, you’d actually have to know whether the right input was at the top or the bottom.
We were was also pleased that the balanced input is completely isolated from the unbalanced inputs – some amplifiers share an input and you only find out when you get the amplifier home and read the manual carefully that you can only use one or the other of two inputs. Effectively, this gives the McIntosh MA52 four inputs. There’s also a mono subwoofer output, which is a nice touch.
The speaker terminals, despite looking great and being gold-plated, didn’t turn very smoothly, and felt quite ‘rough’ as they were rotated. Room for improvement here then. Still, connecting speaker cables is something you’ll only have to do the once, and if your speaker cables are terminated in banana plugs, you won’t have an issue at all.
The MA252 has a fantastic-looking OLED front panel display which shows the amplifier’s model number and the words ‘Tube Warmup’ while the amplifier is warming up (which takes around 15 seconds), after which it shows the source selected (which will be your last-used source), after which the volume level slowly ramps up from zero to stop at whatever volume level you were last listening.
While the amplifier is warming up, the LEDs illuminating the small signal valves glow orange, so when they turn green, you’ll know the amplifier is ready to go.
But the description ‘warmup’ is a bit of a misnomer because if you switch the amplifier off after it’s been operating for several days, and is totally warm, then switch it immediately back on, it will still spend 15 seconds ‘warming up’ again. In the light of this, ‘Initialising’ might have been a better word to use… except that maybe it would have too many letters to fit into the display.
The McIntosh MA252 ‘remembers’ balance, bass and treble settings independently for each input. So if, for example, you have adjusted the channel balance of the phono input to compensate for a slight voltage difference in your phono cartridge’s left and right channels (and this would be the case with almost every phono cartridge on the planet), then when you switch from your phono input to, say, your DAC on another input, the channel balance will revert to 0dB in each channel.
Likewise, if you prefer to roll off the bass a little and accentuate the treble when listening to LPs, the McIntosh will apply these settings whenever you switch to the phono inputs, but revert back to a ‘flat’ tone control setting (or whatever other tone control settings you’ve chosen) whenever you select a different input.
We think this is a really great feature, one that is incredibly useful, but to use it, you will need to use the MA252’s remote control, and before you use the remote control, you will need to install the single AAA battery (a high quality Duracell alkaline battery is supplied), and before you do that you’ll need to find out how to install it, because McIntosh’s remote is so beautifully made that it’s not apparent how to do it, and there is nothing at all about it in the User’s Manual.
If you run your fingernail down the almost invisible seam on the left side of the remote, then pull the back-plate of the remote ‘out and down’ from the bottom, below the logo, you'll reveal the battery compartment. It’s a bit tricky to do the first time, so ask your dealer to show you how to do it before you have a go yourself.
The input selector on the left side of the sloping section of the front panel has a click-stop action and in addition to selecting your desired input, doubles up as the ‘Trim’ control (push it inwards for Trim options).
The 6 Mk2 are the smallest floorstanders in the six-strong Opticon Mk2 range, which also includes two standmounters, a dedicated centre speaker and, more unusually, a slim LCR model that’s flexible enough to work in all kinds of on-wall situations regardless of orientation thanks to a rotatable tweeter module. Clever.
Get the 6 Mk2 out of their boxes and it’s the twin-tweeter arrangement that grabs your attention first. This unusual configuration has been something of a Dali trademark at premium points for many years now, and the engineers have developed a new module for the Opticon Mk2. This high frequency module mates a conventionally designed 29mm textile dome tweeter with a 17 x 45mm ribbon unit. The crossover between the pair is set at 14kHz, and the idea is that the ribbon takes over where the dome unit starts to struggle, giving a wider, more even dispersion characteristic and increased detail.
Below that hybrid tweeter combination is a pair of 16.5cm wood-fibre coned drivers. These cones are a mix of paper and wood fibre, and deliver what Dali feels is the optimum blend of rigidity, self damping and lightness. The upper of these drivers outputs midrange and bass, while the lower one rolls in below 800Hz to augment low-frequency performance. The lows are also reinforced with a pair of revised rearward firing reflex ports, which are flared at both ends to smooth the flow of air and reduce any turbulence that causes distortion.
Look at the published specifications and Dali describes this speaker as a '2½ + ½ way' design, which, confusing as it seems initially, makes sense. The bi-wire crossover network is kept simple in a bid to preserve sonic purity and it is mounted close to the speaker terminals to keep signal paths short.
These Opticon 6 Mk2 are reasonably sensitive at a claimed 88dB/W/m, but the nominal impedance of 4 ohms suggests that they need an amplifier with a bit of muscle. We suggest something like the Cambridge CXA81 (£999, $1299) as a good starting point, though spending more on the likes of the Naim Nait XS3 (£1299, $2999) will reap obvious sonic benefits. Of course, like most good speakers at this level, the Opticon 6 Mk2 have plenty of stretch and deliver more if fed a better signal.
These floorstanders need a bit of space to breathe, too. We find them to work best when placed well out from room walls and firing straight ahead rather than pointing towards the listening position. Such an arrangement gives a wide, expansive and reasonably balanced presentation.
Overall build quality is good. The cabinet corners are crisp and the standard of fit and finish is high. There are three finish options – satin white, satin black and tobacco oak. Unusually for this price level, Dali makes its speakers in matched pairs to ensure that the performance is as consistent as possible between channels.
Large-scale dynamic swings are handled with composure with little sense of the speakers having to strain to punch out the extremes. We’re impressed with the overall refinement, as well as the Opticons’ refusal to sound aggressive even when provoked with high volume levels or strident instrumentation. Tonally, things aren’t particularly neutral, but there’s enough in the way of balance to avoid serious complaints. Those looking at two tweeters and expecting an excess of high frequencies are in for a surprise. The highs here are nicely blended and, if anything, slightly on the understated side.
We switch to Massive Attack’s Heligoland to give the Opticons a chance to show off their rhythmic cohesion and pleasing detail recovery. There’s a good amount of insight here: the speakers dig up a fair bit of detail and organise it in a musical and entertaining way. Make no mistake, these are pleasing and accomplished speakers – but they’re not quite fully rounded.
They’re not the most exuberant performers we’ve heard at this level, sounding a little restrained through the midrange and upwards. This takes the edge off dynamics and makes vocals sound less expressive and emotive than they should. We swap around amplifiers and find something livelier such as Naim’s Nait XS3 works better than smoother sounding alternatives, but it still doesn’t quite solve the issue.
Regardless of amplifier, we notice the speakers struggle to maintain their organisational ability when asked to replay a really complex piece of music. They never go as far as to sound messy, but a feeling of unease tints the overall sound when the speakers are stressed in this way.
Our favourite Dali speakers have tended to be lively and entertaining if just a little rough around the edges. That’s a compromise we’re happy to accept given that they tend to compete at the more affordable end of the market. When price levels rise, so do the expectations. And while the Opticon 6 Mk2 are pretty good for the money, they don’t challenge the class leaders.
Im eleganten Design, mit großartigem 5.1 Surroundsound, ohne überflüssiges Kabelgewirr und mit vielen technischen Finessen weiß das LG HX995TZ Heimkinosystem zu überzeugen: Die brillante Wiedergabe von 3D Blu-ray-Discs und das integrierte iPhone/iPod-Dock gehören ebenso dazu, wie der Zugang zu YouTube, Picasa und AccuWeather über NetCast. Die DLNA-Zertifizierung garantiert Ihnen zudem die problemlose Vernetzung verschiedener Multimedia-Geräte. WLAN und der USB 2.0 Anschluss sorgen dafür, dass Sie nicht nur schnell auf Web-Inhalte zugreifen, sondern die Daten Ihrer USB Sticks und externen Festplatten nutzen können.
www.lg.com/de/tv-heimkino-blu-ray/heimkinosysteme/LG-HX99...
John Griffin welcomes guests and discusses the power of Dolby Digital Plus incorporated into VUDU streaming.
Man... great way to do the weekend.
~Got to walk around naked.
~Drove around first time this weekend
~Had a friend over for a drink and some good conversation
... and best of all, ALL my media in ONE PLACE. The flat-screen TV... with a 5-disc DVD player... has a PC connection in the back!
Only time I needed to get up was to use the bathroom, eat and sleep. :D
Couldn't live without my Sky+ anymore.
You can just make out the speaker wire heading up to the left and right speakers at either side of my TV.
This is the view from the front of the custom theater we designed, built and installed in our customer's basement. The ceiling is treated with bass absorbing acoustic panels. The walls of the theater are treated with a patchwork of strategically placed acoustic panels under a custom stretched damask fabric. The projector is hidden in the soffit, with all of the electronics housed in a custom equipment rack in the closet at the rear of the theater.
The exact ability to locate musicians and create an appropriate spatial image is only possible if the characteristics of the left and right channels are virtually identical.
The slightest tolerances of the components utilized in
the left and right signal path are the decisive basis for
realistic, stereophonic-spatial music playback.
The Aerial Acoustics Mdl.9's are sitting next to the Magnaplaner 3.6R planer speakers with ribbon tweeters.
The center channel speaker under the Pioneer Elite Plasma in this picture, is the Magnaplaner MGCC-3
Aerials had just been delivered.
For the best pricing on all Theta Digital and Aerial Acoustic Speaker products worldwide, call Craig Shumer of Theatermax LLC in N.J.
Theatermax is The Worlds Largest Dealer of these products (732) 616-1010 or go to www.theatermax.com/
Classic Home Theater - Dallas, TX.
Custom Audio/Video Solutions for your Commercial, Residential, Auto, and Marine needs.
Two B&W ASW825 subwoofers and the B&W HTM2D center channel speaker are located in a custom stage box under black acoustically transparent stretched fabric.
The four outboard feet add stabiity and about 30lbx. of weight to these already heavy speakers.
For the best pricing on all Theta Digital and Aerial Acoustic Speaker products worldwide, call Craig Shumer of Theatermax LLC in N.J.
Theatermax is The Worlds Largest Dealer of these products (732) 616-1010 or go to www.theatermax.com/
REIMAGINE THE 70s
Remember those classic loudspeakers from the 1970s? That era of distinctive, iconic cabinets and ground-breaking technologies that moved audiophiles closer than ever to the music? So do we.
RETRO MEETS MODERN
From the drawing board of audio industry veteran of 40+ years, Dr Paul Mills, the Fyne Audio Vintage and Vintage Classic Series loudspeakers reimagine those iconic years of loudspeaker design. Merging retro-inspired aesthetics with the latest developments in acoustic design and engineering, this elegant range of traditional loudspeakers shows that back in the day never sounded this good.
THE DESIGNER
Dr Paul has been at the forefront of loudspeaker design for decades, becoming one of the HiFi industry’s most respected figures since the 1990s. Bringing this unrivalled blend of heritage, experience and engineering knowledge to bear on a project close to his heart, Fyne Audio’s premium Vintage and more affordable Vintage Classic series are no-compromise designs born of Dr Paul’s passion for creating the most engaging music experience at home, sonically and visually.
dr paul mills
HANDCRAFTED IN THE UK
Hand crafted here in Scotland and exquisitely finished in timeless real wood veneers, each model incorporates a raft of Fyne’s latest technologies including IsoFlare point source drivers with FyneFlute roll surround and BassTrax 360 degree bass porting. From the premium curved cabinets and bespoke Presence control dial of the Vintage Series to the striking black baffle of Scottish patterned grill cloth of the more accessible Vintage Classic Series, every model seamlessly blends traditional British craftsmanship with contemporary audio performance