Unveiled for the first time in June at the Vienna Audio Show, the AT-MCD1 pushes the Japanese manufacturer’s boundaries in MC cartridge design.
As you’ll read in an interview with Chief Engineer Yosuke Koizumi to be published in the coming days, this new cartridge was conceived following the surprise at how quickly the limited-edition AT-MC2022 –launched in 2022 to celebrate Audio Technica’s 60th anniversary– sold out.
Building on this foundation –and thus using a single diamond block for both the cantilever and the stylus– the cantilever, with a radius of 0.22 mm, has had its mass further reduced on the AT-MCD1, while the tip radius of the Nude Shibata stylus has been reduced to 2.7 x 0.08 mil (or 68.5 x 2 µm). At the same time, Audio Technica’s engineers sought to design the best possible driver, naturally building upon their PCOCC (Pure Copper by Ohno Continuous Casting) dual-coil system.
The chassis is also designed to provide maximum resistance to vibration, featuring an aluminum base and a titanium housing, dampened by an elastomer coating. And since this is a modern cartridge, there is no locknut; the screws are simply inserted from the top using two threaded inserts. To ensure the best possible connection to the tonearm cable, the four connectors are plated with 3 microns of gold.
More discreet than the gold-plated anniversary series, the AT-MCD1 is simply black. And of course, it is hand-assembled in Japan, with a suggested retail price on par with competing reference cartridges at 11 000 €.
In recent years, network players have often doubled as preamplifiers thanks to digital—or even analog—volume control. Conversely, many integrated amplifiers now include a digital section, requiring only speakers to complete the setup. All of this runs the risk of duplicating components, starting with the D/A converters.
To get back to basics and cater to a segment of listeners who want no disruptive digital components in an amplifier, Hegel is therefore offering, in addition to its new H200, a purely analog version: the A200. Designed on the same platform as the H200, this new model is the only one to start with the letter ‘A’ for the time being. It delivers the same power output of 150 W per channel into 8 ohms and utilizes SoundEngine 2 real-time distortion reduction technology.
Since it omits the DAC section found in the H200, the A200 can offer an additional pair of XLR inputs, bringing the total to two, matching the number of RCA inputs. The MM phono stage, derived from the V10 preamp, is also still present, with its RCA input connected to ground on the rear panel.
Weighing just 100 grams less (13.5 kg versus 13.6 kg for the H200), the A200 boasts the same specifications: a signal-to-noise ratio exceeding 100 dB, harmonic distortion below 0.01%, and a frequency response ranging from 5 Hz to 100 kHz. However, this model is available only in black, and its price is lower than that of its DAC-equipped counterpart, coming in at 3 295 € / $3,995 / £2,750. We’ll tell you more as soon as we get our hands on it!
Launched with the 371 all-in-one model, the Compass line from Canadian manufacturer Moon (by Simaudio) is now expanding with two new additions.
Simply put, the two new components take the elements of the 371 model and improve upon them by separating them into two chassis. On one side, we find a stereo power amplifier, the 461; on the other, a network player, DAC, and preamplifier, the 491.
461 Power Amplifier
While the integrated all-in-one model delivers 100 W per channel into 8 Ω, the 461 amplifier demonstrates its superiority with an output of 2 x 150 W into the same impedance, which doubles to 2 x 300 W into 4 Ω.
As a pure power amplifier, the Moon 461 can also be bridged to deliver its full power on a single channel, reaching up to 450 W at 8 Ω. The heart of the Class AB amplification is derived from the high-end North series, featuring an MDCA (MOON Distortion-Cancelling Amplifier) module designed to reduce distortion. This is combined with two MOON Hybrid Power modules, in an overall dual-mono configuration.
To connect it to an analog preamplifier or a server with digital volume control, the 461 features a pair of RCA inputs and a pair of XLR inputs—the latter being the preferred option given the product’s design. Bi-amping is also possible instead of bridging, selectable via a three-position switch on the rear panel. When bridged, only the red (+) speaker terminals should be used to connect the speakers.
As always with Moon, the front panel can feature micro-beaded gray aluminum reinforcements around the front display; these can also be selected in black to make the product entirely black. The price is three-quarters that of the Moon 371, which means 5 200 € (5 000 USD / 6 800 CAD)
491 Preamplifier-DAC-Network Player
As the ideal companion to the 461, the 491 enhances the source, headphone amplification, and preamplification features found in the 371.
For network playback, the device uses the manufacturer’s proprietary MIND 2 platform, which also supports multiroom functionality. Compatible with most protocols, it supports UPnP, Roon Ready, and AirPlay, and also features a Bluetooth chip for quick connections.
While the network card can be connected via Wi-Fi or two RJ45 ports (MOONLink), and even via USB-C to read USB drives, the DAC surprisingly cannot be integrated via USB; however, it does offer modern HDMI eARC, in addition to the standard optical, AES/EBU, and coaxial S/PDIF inputs.
Its architecture is based on an ESS ES9039Q2M chip per channel and a high-precision clock.
On the analog side, there are three inputs: one balanced XLR and two unbalanced RCA. The XLR input also allows for connecting a turntable, thanks to a phono module compatible with MM and MC cartridges, adjustable for five impedances, four gain levels, and three capacitances. There are also three outputs: a pair of XLR terminals and two pairs of RCA terminals—one fixed and the other variable—plus a 6.35 mm headphone port on the front panel.
Also equipped with an MHP (MOON Hybrid Power) power supply and a large display—which allows you to manage settings and view the album art of streamed tracks—the Moon Compass 491 boasts a signal-to-noise ratio of 120 dB and a harmonic distortion rate of 0.0004%. These figures, which are better than those of the 371 (108 dB & 0.003%), demonstrate the even greater refinement of this separate component, which is also priced at the same level, namely 6 800 € (6 500 USD / 8 800 CAD).
The first units are expected to be available by the end of June.
Founded in 2016, B.Audio is still run from Saint-Hippolyte by Sébastien and Cédric Bermann. After making a name for itself with its very first DAC, the Haut-Rhin-based manufacturer expanded its product line by creating a more affordable series called One, which included a DAC that could be paired with a preamp section and a network card, followed by a power amplifier. Today, the combination of these devices makes it possible to introduce a groundbreaking all-in-one unit—a combination of a DAC, preamplifier, and network player with an amplification section—to create the B.Audio Alpha One. Self-contained, this device simply needs to be connected to a pair of speakers to enjoy its full finesse and purity of sound.
As streamlined versions of the B.Dac and B.Dpr, the B.Dac One and B.Dpr One are only slightly less robust in terms of their power supplies and a few components, delivering approximately 85% of the performance of the Reference line at a price about 35% lower. Offering some of the best value for money in the very high-end segment, the products in B.Audio’s One series subsequently expanded into amplification with the B.Amp One power amplifier, directly derived from the B.Amp Reference stereo amplifier (switchable to mono), with a later B.Amp Mono version further refining the design.
B.DPR ONE EX + B.AMP = B.AUDIO ALPHA ONE
Released very recently, two years behind the initial schedule—such was the extent of the development efforts to create the best possible product—the Alpha One is the latest addition from the Haut-Rhin-based brand and combines all the features of the aforementioned models.
In a chassis with an anodized aluminum front panel that remains as sleek as ever, slightly redesigned to accommodate more control buttons, this new all-in-one combines the B.Dpr One Ex player-preamplifier with a B.Amp stereo power amplifier, the latter slightly scaled down to fit within a width of 45 cm, a depth of 39.5 cm, and, most importantly, a height of just 10.2 cm.
ANALOG AMPLIFICATION AND PREAMP
Based on IOD (Intelligent Output Drive) technology, designed to minimize the crossover distortion typically found in Class AB output stages, the amplification circuit follows the B.Amp design with Class A transistors—four rather than six to achieve greater compactness—positioned between the voltage gain stage and the output transistors. To also limit feedback, particularly return currents from the speakers, local loops are integrated, combined with a high output impedance relative to the preceding stages to maintain high linearity in the output stage’s operation.
For the preamplification stage, the technology is identical to that of a B.Dpr One: a perfectly symmetrical stage without a coupling capacitor, in which the ASP (Analog Symmetrical Preamplifiers) patent allows for the addition of a circuit outside the signal path, featuring four discrete resistor networks (compared to six in the Reference series) switched by relays; one network for each positive and negative point per channel.
To allow for the integration of unbalanced sources, active balancing is incorporated before the input selection stage; this enables the addition of two pairs of RCA terminals on the rear panel in addition to the balanced XLR pair, which serves as a reference given the Alpha One’s dual-mono preamplification structure. To further limit interference, the entire analog section is powered by a large toroidal transformer, while the second, smaller transformer from Talema powers all the digital sections.
DIGITAL BOARDS
Already well-known for its DACs, the digital-to-analog conversion section stands out not so much for the conversion itself—which is based on a DSP chip whose algorithms have been refined over several years by Cédric Bermann—but for its proprietary jitter elimination technology.
Called SJR (Source Jitter Removal), this technical patent builds on existing technology and combines the use of PPL phase-locked loops with proven oversampling technology, while allowing the source data retrieved by a control algorithm to remain intact, while generating a clock signal decoupled from the input signal, designed to directly drive the D/A conversion before the analog signal is sent to the output stage. This has the advantage of never being affected by source jitter and allowing the output signal to be maximally purified by the clock, resulting in a more supple and airy sound.
Integrated since the EX versions, a network playback card benefits from the same clock processing, allowing the B.Audio Alpha One to connect directly to the Internet via an RJ45 port, through which data can be transmitted with a sampling quality of up to—as with USB audio—PCM 384 kHz, DXD, and DSD256.
The standard optical inputs (two of each), SPDIF, and AES/EBU allow playback of files up to 24-bit/96 kHz PCM for the former and 24-bit/192 kHz for the latter. With just one fewer coaxial input than the B.Dpr One EX, the Alpha One retains a USB Data input for connecting external hard drives, and loses the pair of RCA terminals on the analog output, keeping only the balanced XLR output. The need to route the signal to a power amplifier is becoming almost obsolete anyway, since amplification is inherently integrated into the all-in-one unit.
USE OF THE B.AUDIO ALPHA ONE
Unveiled at the 2023 Munich High-End Show alongside the new Dyptique panels, the Alpha One was recently tested on one of our reference systems for several weeks before being put through its paces with amplification-hungry speakers such as the ATC SMC50 PSLT and the EgglestonWorks Andra III at Concert Home.
Used primarily as an all-in-one system via its digital network player, it was also successfully paired with the CH-Précision P1 phono preamp, with which it shares a genuine philosophical alignment regarding sound neutrality and purity, and was compared in its digital-to-analog conversion capabilities to the Idéon Ayazi MKII and Mark Levinson 5101. The preamplifier section was also connected via XLR outputs to Accuphase (Class A) and Spec (Class D) amplifiers. However, the fact that we did not have a B.Amp One available at the same time prevented us from testing bi-amping, although the gain and output power of this unit are the same as those of the Alpha One, allowing them to be paired if necessary.
THE SOUND OF THE B.AUDIO ALPHA ONE
Typical of the B.Audio sound, the Alpha One is a synthesis of what the Bermann brothers have managed to create in less than ten years. As always, the benchmark digital-to-analog conversion of the B.Dac One is integrated here into a device that does everything—and does it all extremely well.
Initially connected to compact speakers, the all-in-one device from Alsace demonstrated its flexibility along with great purity, perfect for rendering all the clarity and detail of the violin sections in the opening of “La Nuit” from Richard Strauss’s Alpensinfonie (Thielemann’s version with the Vienna Philharmonic, DG) or to hear the Berlin Philharmonic’s decay down to the very last note in György Kurtág’s “Stele” (Abbado’s version, DG) for even longer than at the Berlin Philharmonie a few days earlier with Kirill Petrenko.
Very well defined but without being overly sharp, the textures unfold with tonal nuances consistently well-highlighted, benefiting almost as much from the Qobuz Hi-Res files streamed via Audirvana as from HD files sourced from an external hard drive connected via USB.
The very airy soundstage does not appear dark as with other converters, but rather a perfectly pure whiteness, which gives it a volume ready to expand as soon as the musical masses grow. With grand operas, but also noticeable on an album by Drake or The Weeknd, the bass explodes with great control at the lower end, without ever spilling over.
Even more impressive is the amplification, which we knew was limited compared to that of a B. Amp One, however, proves more than sufficient for very large speakers, such as the ATC SCM50—which are notoriously difficult to drive—or even better with the Eggleston Works Andra III, which, under the Alpha One, maintain a surprising fluidity alongside control across the entire spectrum, with excellent handling of each register across the various drivers.
Equally interesting, the pairing with the CH.Precision P1 phono preamp proved to be an unexpected match, as this Swiss device, much like the Alsatian all-in-one, strives to excel as much as possible in the neutrality and purity of the musical signal’s reproduction.
OUR CONCLUSION
Seven years after the founding of B.Audio and the release of the brand’s first DAC, Cédric and Sébastien Bermann have once again made a major impact with their first all-in-one, the Alpha One, for which it would be difficult to find a competitor as pure and refined in this price range.
Still a benchmark in terms of conversion and the quality of its resistor-relay preamplification, this model—directly derived from the B.Dpr One EX—manages to pack amplification comparable to that of the B.Amp One into a chassis that hasn’t been enlarged. With the same signal-processing technologies and a Class AB output power of 2 x 120 W into 8 ohms, the Alpha One is more than sufficient for high-sensitivity speakers, to which it delivers a sound that is consistently refined while being beautifully smoothed by every stage of the signal chain.
At €15,990, this all-in-one system is certainly not for everyone, but it easily replaces a source-amp pair in the same price range or higher, while also eliminating the need for any interconnect cables and serving as a NAS with the simple addition of an external hard drive. Discreet thanks to its modest height and refined by its design and anodized aluminum front panel, it will blend seamlessly into any environment to deliver a listening experience that is consistently ethereal and remarkably luminous.
Author(s): Vincent Guillemin
Technical Sheet: B.Audio Alpha One
Origin: France
Price: €12,200
Dimensions: 255 x 1000 x 265 mm
Weight: 18 kg
Frequency Response: 40 Hz to 30 kHz
Sensitivity: 86 dB
Country of Origin: France
Price: €15,990
Dimensions: 450 x 395 x 102 mm
Weight: 15 kg
Output power
120 W into 8 ohms
200 W into 4 ohms
Audio inputs and outputs: 1 x XLR; 2 x RCA; 1 x SPDIF; 2 x Toslink; 1 x AES/EBU; 1 x USB Type B; 1 x RJ45; 1 x USB DATA
Recently acquired by CH Precision, Wattson Audio had not yet been tested by us. But rather than starting with the new Madison LE Amplifier power amplifier, unveiled last May in Munich, we decided to go back to the company’s basics: its streamers. The smaller of the two ranges and available in analog or digital versions, the Wattson Audio Emerson Digital, despite its compact case, demonstrates all the finesse and purity of reproduction that have made the Swiss brand’s reputation.
Having entered the market with two series of network players, Wattson Audio is now expanding its catalog with a stereo power amplifier that can be bridged to create a mono amplifier for even greater power and drastic channel separation. Called the Madison LE Amplifier, this device joins the Madison series, which already includes the Streamer and Streamer LE, the latter enhanced with even better components.
Below this, the Emerson series offers two versions of network players: the first has a DAC and Leedh Processing digital volume control for exclusive RCA output to an integrated amplifier; the other is purely digital and offers only two outputs to connect to a DAC.
Integrated into the same solid black or silver aluminum chassis, entirely handmade in Switzerland and sold at the same price of €1,750, the Emerson Analog and Digital also use the same network playback architecture, based on a Sitara ARM processor developed by Texas Instruments—a version that does not support USB, which is currently absent from all Wattson products.
For this test, and in anticipation of an upcoming review of the Madison range (which only includes DACs), we chose to focus on the Digital version of the Emerson. And while the identical price of the two models may come as a surprise, it is justified in this version without DAC by the quality of the digital circuit, purified to the maximum on the coaxial S/PDIF RCA (75 Ω) output and the AES/EBU XLR (100 Ω) output; both synchronized by the main clock and isolated by two wideband RF transformers.
On the other side, a carefully chosen connector (PulseJack) allows the small Wattson to be connected to the Internet, necessarily via this 100 Mbit/s RJ45 Ethernet connection, as Wi-Fi is not yet supported. On the same side, a final connection links the device to an external medical-grade power supply, as the Emerson’s power supply circuit is designed to achieve infinitesimal noise levels (<1 µV RMS 10 Hz-100 kHz).
In order to make the signal as reliable as possible, this little Wattson (10.4 cm long, 8.7 cm wide, 3.8 cm high, and weighing only 371 g) already uses bit-perfect technology thanks to two alternately operating oscillators and ultra-low jitter (<-135 dBc/Hz at 100 Hz and <50 fs RMS), with active clock synchronization at sampling rates up to 24-bit 192 kHz PCM.
To manage music and settings, Wattson Audio has developed an app for Android that is used solely for configuration, which becomes a true control app on Apple iOS by adding streaming—also possible with AirPlay. Development is underway to enable streaming on Android, which can currently be managed with any UPnP app, such as MConnect or BubbleUPnP.
Audirvana is also a recommended partner, or simply Roon, since the Emerson is Roon Ready, as well as Tidal Connect and soon Qobuz Connect, these two music platforms being the only two selected on the proprietary Wattson Audio app, along with Tuneln for radio.
THE SETUP OF THE WATTSON AUDIO EMERSON DIGITAL
First connected via coaxial cable to our Mark Levinson 5101 and Atoll ST300 streamer-DACs, the little Swiss Emerson was then paired with Ferrum Audio’s Polish Wandla DAC, via AES/EBU and S/PDIF, for a near-perfect match.
Purely digital and without a USB output, it only allows you to go up to 192 kHz, but that’s more than enough to enjoy high-quality, perfectly timed Hi-Res streaming, the purity of which allows this little Swiss player to be integrated into mid-range and high-end systems. Improving the Ethernet cable in particular enhances the speed or substance of the sound, depending on the brand.
THE SOUND OF THE WATTSON AUDIO EMERSON DIGITAL
Compared to the network playback section of our Mark Levinson, which usually requires products costing around €3,000 to be surpassed, the Emerson Digital, at €1,750, already refines the rendering.
Slightly less direct, the sound is concentrated or rather refined, leaving a very open soundstage, which it illuminates particularly in the midrange. Even with 44.1 kHz files, the feeling of clarity and neutrality of the timbres is almost reminiscent of analog listening, with a rare fluidity considering the price range and size of the product.
Surprisingly, it was with the Wattson Audio mother app that we obtained the best results: this demonstrates how important the links between the hardware and software developers were in enabling data packets to be sent in the most ideal way possible, in order to maximize the flow.
Less shimmering than the midrange, the extreme registers are not to be outdone, especially the ever-silky treble, while the bass does not seek to overwhelm, but remains very well contained within the overall balance. This finesse still surpasses our reference streamer, while offering the same level of precision – as long as we stick to a 24-bit 192 kHz stream, since the Emerson Digital does not go any higher.
Note: it is possible to further improve the performance of this little Wattson by upgrading the separate power supply, which we experienced with the Ferrum Hypsos in a test with the Wandla GoldenSound Edition DAC in this issue.
OUR CONCLUSION
Released more than four years ago, the Emerson Digital has lost none of its appeal for listeners looking for a highly reliable and pure network transport. Without offering the versatility of many new entrants to the market, either in terms of connectivity (no USB or Wi-Fi), a front panel display, or its app (currently being updated), it clearly remains an absolute benchmark in its price range, surpassed only by products that are often at least twice as expensive.
