Developed over more than three years by Jacek Grodecki, the two Closer Acoustics Ogy speakers stand out from the Polish brand’s larger models, while retaining the distinctive characteristics of a full-range driver from Catherine Fertin’s French workshops. With their highly distinctive sound, the Ogy speakers are charming companions for natural music, especially intimate music.
The first in a range of five speakers, all of which are large and heavy columns, the latest additions to Closer Acoustics, charmingly named Ogy, stand out for their compactness. Their cabinet measures 30.6 cm in length, a comfortable 31.2 cm in height, and only 13.2 cm in width, making them extremely discreet. Made from birch plywood, treated internally both in terms of the material and with a carefully designed acoustic labyrinth, the Ogy benefits from external reinforcement in acrylic stone which, in order to make it very resistant to vibrations, gives it a substantial weight of 8.6 kg per unit.
Another distinctive feature is its use of a technique that we believe is unduly disparaged: the single full-range speaker, whose main advantage is that it avoids the need for multiple speakers and tweeters to handle different frequencies, thereby eliminating the need for crossover filters and other derivative circuits.
Even better, this speaker is one of those developed over many years by Michel Fertin and further improved today by his daughter, Catherine Fertin: the small 10 cm diameter LB5, sensitive from 50 Hz to 18 kHz and driven by the labyrinth to even lower responses.
At the rear, two high-quality terminals allow the speaker to be connected directly, either with spade connectors or banana plugs, while the speaker, which is currently only available to order on the manufacturer’s website (translated into French), comes in three finishes: natural (€1,490 excl. tax), white (€1,753 excl. tax) and black (€2,013 excl. VAT). For our test, we were loaned the black model, which proved to be particularly classy. According to the designer, the price difference is explained by the time spent obtaining such a brilliant lacquer finish thanks to the numerous layers applied, resulting in a sound quality that is considered better than that of the other two versions.
The Set Up of the Closer Acoustics Ogy
If you decide to purchase the Ogy speakers, it is best to pair them with one of their two dedicated stands, designed for their narrow width and available in a choice of heights: 65 cm (reference ER650; €249 excl. tax) with a round shape, or 70 cm (KT700; €279 excl. VAT) and square in shape. Otherwise, simply place the speakers in the middle of more conventional stands.
For our tests, we were able to favor the Solidsteel SS-7, also tested in this issue, while the small Polonaises proved particularly receptive to the best sources and cables, with our HP Esprit Eterna taking them further than the Beta from the same brand. In terms of amplification, class A works particularly well, although it should be noted that these speakers are specifically designed to work with tube amplifiers, which we were able to verify with the Kora TB140 and, for playing, with the large 300B from the Jadis I300, also reviewed in this issue.
Finally, we regularly removed the lacquered front panel cover, which is held firmly in place by four magnets, to reveal the natural wood behind it. This resulted in a slight loss of clarity, but opened up the sound even more and limited the cabinet effects.
The Sound of the Closer Acoustics Ogy
Listening to a full-range speaker may seem surprising at first, but it’s a sound we love at VUmètre, just like that of our Zu Soul speakers, which we selected to remain in our test studios after hearing them for the first time. Similarly, the small Ogy offers a specific sound, positioned towards the top of the spectrum, which may seem to detune part of the bass or even the midrange, with the bass being somewhat underemphasized due to the speaker being limited to a diameter of ten centimeters. Nevertheless, these speakers have a real charm, as well as offering a surprisingly wide soundstage considering the size of the cabinet.
The well-designed acoustic labyrinth is reminiscent of that found in Boenicke speakers, and it offers the same performance to the little Polonaise, whose sound certainly lacks body in the lower end of the spectrum, but without ever saturating or sounding muddy, thanks in large part to the magnificent French Fertin full-range driver. This very clear element benefits from the rigidity of the cabinet to produce a supple and superbly detailed sound, with a precision that is rare in this price range. These impressions are particularly evident in the trumpets and saxophones of jazz musicians, as well as in the natural voices of soul and lieder singers. It is with this type of natural music that the Ogy really stands out!
It offers its full potential, especially when paired with an analog source and a class A or tube amplifier and freed from its front panel, resulting in the development of a very special grain, with a subtle elegance in its simplicity, allowing you to hear the smallest details while opening up the space of a modest room. Listening can be done from fairly close up, but it is ideal when the speakers can breathe in terms of width, not only in relation to the side walls, but also between themselves. To achieve this, don’t hesitate to place them more than two meters apart, at a height of at least sixty-five centimeters, the first size of their dedicated feet.
Our Conclusion
Conceptualized over several years to offer a calibrated set for Catherine Fertin’s LB5 speaker, Closer Acoustics’ Ogy speakers have a special charm when it comes to natural instruments and voices. Although they struggle with large orchestral symphonies or music with strong digital bass, these speakers delight at moderate volumes on many albums, from Amy Winehouse’s Frank to Nina Simone’s Pastel Blues, as well as numerous small classical and jazz ensembles.
Discreet, they are perfect for listening in your bedroom or living room, enjoying winter moments by the fireside. Currently not distributed in France, the Ogy speakers can only be ordered from the manufacturer’s website, and while the pleasure they provide makes you want to own them, it’s important to remember that they are designed for a limited repertoire or simply as a second pair of speakers. This prevents us from awarding them the Essential label, even though they remain a real favorite of ours!
Author(s) : Vincent Guillemin
Technical Sheet: CLOSER ACOUSTICS OGY
Origin: Poland
Price: from €1,788 (wood) to €2,415 (black lacquer)
Released at the end of September, the Px8 S2 incorporates the structural and component improvements of the Px7 S3, including a refined design, better microphones, a carbon membrane that is better integrated into the ear cups, and Bluetooth aptX Lossless based on a latest-generation Qualcomm 5.3 chip. But as a higher-end model, it once again stands out from the Px7 and almost all of its competitors thanks to its excellent tone reproduction and high precision, with a sound that also gives pride of place to the bass.
Bowers & Wilkins’ best-selling wireless headphones (implying ‘connected’) are now an accessible gateway to high fidelity, especially for younger generations. These modern products do not compromise on musical quality, with a sound signature that reminds us that the brand also works with many studios around the world, starting with Abbey Road.
This new version of the Px8 features the same elements that brought improved ergonomics and significant enhancements to the Px7 S3 compared to the Px7 S2 a few months earlier. Released later, the Px8 is only now becoming the ‘S2’, at the risk of causing some confusion, even though it incorporates all the innovations of the latest generation Px7, i.e. the ‘S3’.
Firstly, at the request of the brand’s customers, the Px8 S2 has been slimmed down to the same dimensions as its little brother. This means that each ear cup is 3 mm thinner, giving it a more luxurious look and feel when worn. Its attractive die-cast aluminum structure is combined with classy cable inlays in the headband and fine perforations around the ear cups, just before the ear pads, which are made of genuine Nappa leather in this version.
In terms of new connectivity, the Px8 S2 has upgraded from the Px8’s Bluetooth 5.2 chip to a 5.3 chip, which, in addition to aptX Adaptive technology, now also features aptX Lossless. The more common codecs are still available, with the 24-bit DSP being even more comfortable handling high-resolution music files when connected via USC-C to a smartphone or a DAC, or directly from its USB-C port to a 3.5 mm jack, thanks to two 1.2 m cables integrated into the center of the protective pouch.
Thanks to its new active noise cancellation (ANC) system, it immerses you even more in the music in noisy environments, especially as the placement of the microphones (four per earpiece) has also been revised to improve phone calls and conversations.
For music, the Px8 S2 still uses 40 mm diameter carbon full-range drivers, which are superior to those in the Px7 S3. But as with the latter, these are better integrated into the ear cup by being placed on a square structure, firmly locked at all four corners. Designed for direct Bluetooth use, these portable headphones benefit from the Music Bowers & Wilkins smartphone app, which allows you to use a 5-band equalizer to adjust the sound to your preferences, your mood or the style of music you are listening to.
THE USE
Faster charging via USB-C (just over an hour for a full charge) allows the Px8 S2 to be used for around 30 hours. Very convenient for wireless listening, these headphones are still better when plugged in rather than used via Bluetooth. Similarly, they are more open to music when left in classic mode (deactivated) than in ANC (noise cancellation) mode. As is often the case, transparent mode is of little interest, unless you want to be very attentive to surrounding noises, for example when cycling, but at the expense of listening to music.
Although our approach is primarily that of pure hi-fi enthusiasts and our initial tests were carried out in a very quiet environment, having the headphones in our possession for a month allowed us to listen to them for over 50 hours. Thanks to this listening time, we were not only able to hear the membrane of this almost new model soften over time, but also enjoy it in many mobile situations, including on planes, trains, bicycles and the underground in the city center.
Screenshot
THE SOUND
One of the first conventional hi-fi brands to enter the world of portable headphones, then connected headphones, Bowers & Wilkins still has a head start over most of its direct competitors today. However, there is no question of falling behind, as demonstrated by the new Px8 S2. Thanks to its carbon transducers, which are better secured within the structure of the ear cups, it offers greater fluidity compared to the first Px8, as well as improved bass control. The bass can now sometimes seem a little ‘boomy’ in the reproduction, but can be softened if necessary, using the equalizer on the smartphone app.
When listening to electronic or rap music, the sound is powerful and immersive, with impressive low-frequency control for a device of this type. At the same time, the manufacturer’s best portable headphones preserve a great deal of detail in the recordings. Compared to the Px7 S3, they are more precise, but above all even clearer in terms of timbre, with very well-nuanced colors. The treble is almost never harsh, except at very high volumes. And despite everything, this B&W product retains the brand’s sound characteristics in its reproduction. The midrange is less dominant than that of a Focal or Dali, for example, and the soundstage is slightly tighter, giving it a more monitor-like feel, which makes the Px8 S2 ideal for use as a work tool, especially when on the move.
With cables, the headphones can play higher-quality files, which again benefits the timbres, which are more nuanced because they have more information and stability to develop harmonics, as well as better sound openness. In terms of soundstage, the image becomes even more expansive when you switch off ANC mode, which is mainly designed for use in noisy environments, with more than satisfactory results, even if some competitors that are less focused on high fidelity currently perform better in terms of noise cancellation. In any case, the Px8 S2 is a true compromise between portable use and high-quality music listening, aimed at all audiences and demonstrating through its bass range that it also wants to win over younger generations.
OUR CONCLUSION
After the Px7, it is now the turn of the Px8 to be modernized and refined in a new version. With this S2 generation, one of the most high-end portable headphones on the market (729 € in Onyx Black or Warm Stone, 829 € in the McLaren edition) has listened to its customer base before letting itself be heard. Thanks to the feedback considered by the engineers at Bowers & Wilkins, it has gained in finesse and is now even more comfortable to wear and use during calls. But above all, while the Px8 was starting to be overtaken by the Px7 S3, at least in terms of bass, the Px8 S2 has regained a lead in terms of tone quality and musical precision. Thanks to this and a 5-band equalizer that can sometimes be useful for softening the sound, it easily ranks among the best portable headphones on the market today.
SPECS
ORIGIN: United Kingdom PRICE: 729 € DIMENSIONS: 177 mm (W) x 60 mm (D) x 234 mm (H) WEIGHT: 310 g SPEAKERS: 2 x 40 mm dynamic carbon drivers CONNECTIVITY: Bluetooth 5.3 (aptX™ Lossless; aptX™ Adaptive; – aptX™ HD; aptX™ Classic; AAC; SBC) – USB-C; 3.5 mm jack FINISHES: Onyx Black; Warm Stone
Going even further than the Osiris integrated amplifier, British manufacturer Rega has added the Solis power amplifier and Mercury preamplifier to its Reference series.
MERCURY
A modern preamplifier, the Mercury not only has a significant number of analogue inputs (1 x XLR; 4 x RCA; 1 x Rec In; 1 x Rec Out), but also almost as many digital inputs (2 x coax S/PDIF; 2 x optical; 1 x USB-B; 2 triggers). With a symmetrical structure after a large power transformer, this new preamplifier allows the signal to be output to an amplifier via a pair of RCA terminals and a pair of XLR terminals.
Its internal amplification circuit operates almost entirely in class A. For the critical parts, in addition to a current that is extensively filtered by multiple capacitors, very low-noise Linear Systems FET transistors are used in quadruple differential input stages; a topology that has already been proven with the Aura MC phono preamplifier.
As with the Osiris, volume control is provided by an APLS Blue Velvet RK27 module, based on a discrete, common-base symmetrical driver circuit. High-quality relays and polypropylene capacitors are used throughout the signal path. On the front panel, a 6.33 mm headphone jack completes this device, whose digital-to-analogue conversion is handled by two Wolfson DAC chips in parallel, capable of reading files up to 192 kHz/24-bit PCM and DSD64 (including DoP), which is more than enough to decode many current sampling rates.
SOLIS
Purely symmetrical, the Solis delivers a comfortable 168 W per channel into 8 Ω, doubling to 305 W into 4 Ω.
Power is supplied by two low-noise 330VA toroidal transformers, which use fully bonded core material to reduce mechanical noise when operating with high levels of mains distortion. These transformers are paired with 40,000µF Rega K-Power filter capacitors per channel. All power supplies use fast recovery rectifier diodes, and the input and low-level control stages are powered by a regulated symmetrical power supply, which provides a fully stabilized, low-noise voltage.
The common-base voltage amplification stage is differential-controlled, low distortion, high linearity and wide bandwidth. Twelve Sanken 130-watt 15-amp high-frequency multi-emitter output transistors (six per channel) are implemented in a high-current ‘triple’ output stage, allowing the Solis to potentially drive even very difficult speaker systems.
The cascaded differential input amplifier uses two low-noise current generators, referenced by LEDs. The open- and closed-loop feedback levels and gain bandwidth product components are carefully optimized. Nichicon audio capacitors are used in critical bypass and decoupling positions. To achieve this, electrolytic capacitors have been bypassed with polyester capacitors, and non-inductive HTR resistors have been added to the output stage.
The price of £13,900 for the pair, or £6,950 for each unit in the UK, translates to a European price of 18 990 €, or 9 495 € per unit.
The director of Thrax acknowledged to us during a meeting that, when faced with certain difficult MC cartridges, he was impressed by the low noise level of the Accuphase C-47 phono preamplifier. Today, he is able to offer more silence with his new Cotys, named after several kings of Ancient Greece.
In a new, smaller chassis designed to launch a new series, the Cotys features an ultra-low-noise architecture with a differential input stage with noise below 70 nV. Nanocrystalline inductors integrated into the initial gain stage and copper foil capacitors enable the most perfect RIAA correction and channel equalization possible.
Optimized to play only moving coil (MC) cartridges, it also manages to energize very low-gain cartridges, as we were able to verify during a first listening session with a Koetsu Urushi Vermillon (0.2 mV output). To do this, it can be adjusted via the touchscreen on the front panel to an impedance between 100 Ω and 1 000 Ω, with a gain of 50 to 70 dB.
Machined from a single block of aluminum, the Cotys is compact, measuring 340 mm wide by 65 mm high and 210 mm deep, but weighing in at 6 kg, which is testament to the quality of the materials and its vibration damping. It offers two pairs of independent inputs and boasts some of the best measurements currently available, all for a price tag of less than 10 k€ (9 500 €/$9 300/£7 995).
To celebrate four decades of existence, the famous Danish brand is offering an exclusive series of its Diablo 333, called The Gryphon 40.
Limited to 40 units, this integrated amplifier features most of the components of the Gryphon 333 (see our review), with a diabolical power output of 333 W into 8 ohms and 666 W into 4 ohms. With its new name emblazoned on the front and a “40 years onwards” logo on the back, this model promises aesthetic and mechanical differences, although no further technical details are available at this time.
The packaging is in keeping with the commemorative nature of the product, with each device accompanied by a leather-bound user manual, a personal letter from Flemming E. Rasmussen, and a signed sketch.
We’ll tell you more as soon as we have more information!
