DIGITAL AUDIO BROADCASTING
Delphine Josse WorldDAB Forum
now hitting the market on an industrial scale
Digital Audio Broadcasting (or DAB for short) has moved into a phase of industrialisation, with many new broadcast services starting throughout Europe and beyond. The choice and availability of different types of DAB receivers is also expanding at an encouraging rate, as outlined in this article.
Talking about DAB means talking about radio and about radio listening
Radio is by far the most accessible of the media. With its immediacy and mobility, it seduces the listener by its simplicity and friendliness. Consequently, in Europe, over 80% of the population regularly listen to the radio on average, for more than three hours a day (see Fig. 1). And the popularity of radio is not fading: over the past few years, the average number of radios used in European homes has been six or more a figure which is apt to make the TV media rather envious!
Belgium Finland Germany United Kingdom France Spain 246

Number of minutes daily

Figure 1 Daily radio listening (minutes) in certain European countries Source: IP European Key Facts 2000
EBU TECHNICAL REVIEW October 2002 D. Josse
The places where people listen vary from country to country. Across Europe, it is found that an average of 60% of listening is done at home, 20% at the workplace and 15% in vehicles. Alongside these observations, we can note that until recently radio was one of the last media not to have gone entirely digital (even the cinema is going digital!). DAB is the universal technology that enables radio to become digital, while at the same time adding a range of new functionalities and unprecedented ruggedness. But where in the world can we find DAB services? Today, practically everywhere
Extended DAB coverage in many countries worldwide
Almost 300 million people can listen to DAB broadcasts around the world. Depending on the country, the coverage is fairly widespread (see Fig. 2), although new transmitters are being installed progressively. Recently, for example, three new DAB transmitters were installed and taken into service in the Hess region of Germany, providing coverage to the agglomerations of Frankfurt, Wiesbaden and Kassel. DAB coverage now includes 80% of the population in this region. However, if it is to expand in geographical terms, DAB needs a specific regulatory framework and a proactive body in charge of the market rules.
Singapore Belgium Taiwan Israel UK Portugal Germany Finland Spain Sweden Canada Denmark Italy France Austria South Africa Australia Czech Republic Netherlands 0
19% 18% 15% 12% 10% 40% 35% 30% 30% 26% 50% 70% 65% 62% 90% 85% 80%

100% 98%

DAB population coverage (%)
Figure 2 DAB population coverage worldwide (July 2002) Source: WorldDAB Project Office
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Regulatory framework and the organizations in charge: action and rigour
Regulation does not necessarily imply rigidity. In the audiovisual world indeed, in the telecommunications world too the existence of a regulatory framework is an essential precondition for any innovative technology. This regulatory framework serves in effect to lay down the rules under which the technology in question is established and evolves. Today, DAB benefits from a favourable regulatory framework in many countries, while it continues to struggle for regulatory recognition in certain other countries. In France, for example, the Fillon law which fixed the regulatory framework for DAB expired at the end of December 2001, after having been extended twice since it came into force in April 1996. To date, it has neither been replaced nor renewed. In the Netherlands, the call for candidates for the planned commercial radio licences has been postponed until September 2003. To invigorate the digital radio landscape in the meantime, the public radio broadcaster NOS (Netherlands Public Broadcasting (NL/NPB), from 16 September 2002 Ed.) has launched six new DAB programmes in the west of the country, with the help of the broadcast transmission operator, Nozema. Sweden, too, still awaits regulations that will permit private radio stations to broadcast on DAB. A commission is currently analysing the future of digital radio on behalf of the Swedish Government and its report is due to be submitted early in 2003. Elsewhere around the world, a number of well-conceived regulatory arrangements have been implemented to foster the introduction of DAB: ! The duration of licences is a prime means of encouraging investment in both the networks and the programmes. A longer licence period allows radio production companies to plan their development more effectively. This is the case, in particular, in the United Kingdom (where licences are for a period of 12 years), Germany (15 years for network operators), Spain and Denmark (10 years) and Belgium (9 years). ! A voluntarist approach to announcing the closure of analogue radio as was the case in Germany, for example is also a means of helping DAB to make progress in the market. ! The action of the regulatory body that is responsible for issuing broadcast licences is also a very powerful factor in the development of DAB. This can be seen in the United Kingdom, for example, where not a month goes by without the Radio Authority issuing another regional broadcast licence for DAB.

Favourable regulations: the case of the United Kingdom
In the UK, licences run for 12 years and are renewable for a further 12 years. Data services can account for up to 20% of the spectrum capacity. Two operators have obtained national licences: the BBC and DigitalOne (a grouping of commercial radio stations). Regional licences are issued by the UK regulatory body, the Radio Authority, at the rate of one per month. Consequently, there are now over 200 different programmes broadcast on DAB in the United Kingdom. It may also be noted that the BBC has launched three new national stations since the beginning of 2002. Table 1 shows a list of the DAB regional licences issued in the UK, up to July 2002.
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Table 1 DAB regional licences issued in the UK (July 2002)

Geographical zone

Aberdeen Ayr Birmingham Bournemouth Bradford/Huddersfield Bristol/Bath Cardiff & Newport Central Lancs Central Scotland Coventry Dundee/Perth Edinburgh Exeter/Torbay Glasgow Greater London I Greater London II Greater London III Humberside Inverness Kent Leeds Leicester Liverpool Manchester North-East (region) North-West (region) Northern Ireland Norwich Nottingham Peterborough Plymouth/Cornwall Reading & Basingstoke Southend/Chelmsford South Hampshire South Yorkshire Stoke-on-Trent Sussex Coast Swansea Swindon & West Wilts. Teesside Tyne & Wear West Midlands (region) Wolverhampton Yorkshire

Licence holder

SwitchDigital Score Digital CE Digital Now Digital TWG Digital Now Digital Capital Radio Digital Emap Digital Radio SwitchDigital Now Digital Score Digital Score Digital Now Digital Score Digital CE Digital SwitchDigital The Digital Radio Group Emap Digital Radio Score Digital (April 2003) Emap Digital Radio Now Digital Emap Digital Radio CE Digital MXR MXR Score Digital (May 2002) (June 2003) Now Digital (October 2003) (August 2003)

On-air?

Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes

Yes Yes Yes Yes Yes Yes

Severn Estuary (region) MXR Now Digital Capital Radio Digital Emap Digital Radio (February 2003) (January 2003) (December 2002) Now Digital Emap Digital Radio Emap Digital Radio MXR Now Digital (July 2002)

Yes Yes Yes

Yes Yes Yes Yes Yes

Source: DigitalOne

Content, programmes a key factor for success
With over 200 DAB programmes available in the United Kingdom, 150 in Germany and almost 60 in Canada, the content offer on DAB has expanded considerably in the past few years, in several countries around the world. However, although the number of available radio programmes is an important factor for the promotion of DAB, the quality of these programmes is also overwhelmingly important as a means of winning over listeners. Typically, several radio programmes are broadcast in simulcast, thus enabling listeners to hear programmes they are already familiar with (on FM and AM, for example). But new content carried exclusively on DAB is also needed to pull in new listeners. This can be seen in the United Kingdom, for example, where almost 60% of the programmes are accessible only on DAB. In Singapore, too, six of the seven stations in the Media Corp block are DAB-only stations.
An example: the United Kingdom
With over a hundred radio programme available, sixty of which are new programmes broadcast exclusively on DAB, and the issuing of multiple licences to national and regional operators, the United Kingdom is a leader in European DAB. Digital radio made its debut in the United Kingdom as early as September 1995, with the launch of a national block for the BBC. In November 1999, it was the turn of DigitalOne a consortium of private broadcasters to set out on the adventure of digital radio broadcasting. In the Greater London area, the success of DAB with the public can be attributed in part to the great diversity of programmes available to listeners: almost forty radio stations are offered by the multitude of national and regional operators currently on-air. This success stems also from the quality of these programmes and the fact that many of them are entirely new programmes, carried only on DAB. Nevertheless, some commercial radio stations have been obliged to reconsider their digital broadcasting strategies due to growing pressure from shareholders for a quick return on their investments. A user of digital radio can listen both to the programmes of the major traditional radio networks and also to newcomers including large media groups and smaller independent radio companies that have sometimes been left out of the FM environment. A wide variety of programme formats are offered to DAB listeners. In particular, DAB has fostered many thematic and music radio stations (e.g. jazz, classical music) while allowing also for the arrival of new formats such as childrens radio, radio for minority groups, theatre radio, traffic information, etc.

Receivers more numerous than ever, and so full of functionality
We will not give here a full list of the DAB receivers available on the market today it would be too long! However, several types of DAB product can be found on the market and these can usefully be listed: ! Hi-fi tuners for the living-room; ! In-car radios; ! Radio-cassette-CD units; ! Portable DAB receivers; ! Walkman-type DAB receivers; ! DAB radios with MP3; ! DAB receivers for PCs; ! DAB/GSM receivers. The following diagram presents some of the DAB products launched over the past two years (up to May 2002).
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Grundig - Alixx

Etheraction Kiiro - Radi622
PersTel - DR201 Videologic - XXX

Blaupunkt - Woodstock

Zoopad - AnimA
Arcam - DiVA DT81 Kenwood - KTC-9090DAB Roke Prototype Videologic - DRX-602ES - DRX 602ESM - DRX 602 EX

Clarion - DAH 913

Grundig - Fine Art Audion Panasonic - CY-DAB2000

Terratec - DRBox1

Arcam - FMJ DT26 Sony -ST- D777ES Grundig - Challenge 530 TMC - Desktop receiver Pioneer - P90DAB Roberts - Classic 2000 Psion - Wavefinder VideoLogic - DRX601E/ES TMC - DAB Car Radio VDO Dayton - MS4000
Source: WorldDAB Project Office An expert in digital radio, interviewed recently on the latest developments in the equipment manufacturing industry, had this to say: Receiver manufacturers have, today, passed from the R&D phase to the business phase. In countries such as Germany and the United Kingdom, they are negotiating with the technology providers (Imagination Technologies, RadioScape, Command Audio, etc.). They are interested in distribution and in winning their share of the market. Those that dont have a range of DAB products to offer on the domestic market know that they are losing out and that if they do not catch up rapidly, they will lose a large market share.
Very effective marketing initiatives around the world
Numerous marketing initiatives, both public and private, have been taken in recent months to promote DAB around the world. These confirm the increased level of industrialisation of this technology. Among them, we may note: ! Publicity campaigns to increase awareness among consumers and listeners Last March, in Portugal, a 4-week publicity campaign for DAB gave the Portuguese people an opportunity to discover DAB. This campaign was led by the public broadcaster, RDP. ! Round-Table events organized with international equipment manufacturers DigitalOne, in the United Kingdom, is keen on this sort of event, often in partnership with the BBC. ! Meetings and visits to domestic radio equipment retailers For example, over 100 retail companies recently met together in Cologne to talk about DAB radio, in an initiative led by the German broadcaster, Digital Radio West. ! The creation of sales promotional packages IMDR (Initiative Marketing Digital Radio) in Germany has created packages for distribution in 2002.

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The latest arrival in the DAB receiver family: EVOKE-1 from Pure Digital (formerly VideoLogic)
DigitalOne, in the UK, regularly produces promotional materials, information packs and training materials designed to improve contacts with the buying public. It helps the retailer by providing information and by providing training to sales teams, including advice and concrete sales assistance. ! Promotional campaigns for the sale of DAB receivers The most famous promotional campaign organized in recent months was undoubtedly the one set up in December 2001 by DigitalOne and VideoLogic (now Pure Digital) in London. A limited series of 300 DAB receivers priced at 99 (about 150) were sold in less than 30 minutes in a few shops spread across the whole of the country. Promotional campaigns organized by DigitalOne seek to carry the DAB message through advertising leaflets, and articles published in the national press, the technical press and the nonprofessional press (specialising, for example, in motoring, hi-fi and life-styles). ! Advertising on radio This method, although little used so far, is enjoying considerable success in those countries where it is used, such as the United Kingdom. DigitalOne, in partnership with national commercial radio stations such as Classic FM, Virgin Radio and talkSport, organizes on-air advertising campaigns as a means to increase awareness of DAB radio among listeners. ! Presence of those involved in DAB at motor shows and at exhibitions/conferences dealing with GSM and mobile telephony (on stands and giving conference papers) Toronto Auto Show Geneva Motor Show Mondial de lAuto in Paris 3GSM Congress ! Market studies, consumer panels, etc. In Australia, studies have been carried out recently among the general public to determine the listeners interest in new services offered through DAB. ! Presentations at international conferences on digital radio Several major players in the world of DAB regularly give presentations at exhibitions and conferences such as The European Digital Radio Conference, IBC, Euroforum and Broadcast Asia.

EBU TECHNICAL REVIEW October 2002 D. Josse 7/8
A Marketing Committee in the WorldDAB Forum
In addition to these national initiatives, a Marketing Committee was set up in November 2001 as part of the international body, the WorldDAB Forum. Comprising persons working in the areas of sales and marketing, this Committee is concerned exclusively with the promotion of DAB, and its objective is to carry out activities to this end. Through co-ordination with the other WorldDAB committees, the Marketing Committee is able more effectively to target its actions. In 2002, the Marketing Committee has been working on communication kits aimed at three types of player: ! motor vehicle manufacturers; ! commercial radio stations; ! the retail trade (specifically, retailers of domestic electronic goods). Along with a DAB information pack, these kits include information which sets out the major advantages of DAB for each type of player.
Conclusion: DAB Digital Radio is on a Roll!
So DAB digital radio has clearly moved into a phase of industrialisation where each sector has its role to play at the international, national and local levels even if the way ahead for DAB has many and varied facets. A voluntarist regulatory approach is an indispensable precondition for the development of DAB in any country, but it is not the only catalyser. The chemistry will only work if people can find receivers in the shops and if DAB offers attractive new content to listeners. There is no doubt today that DAB has found its place among the other innovative technologies in the radio sector (e.g WorldSpace, DRM, webcasting). The target markets are not the same, whether in geographical terms or as regards target audiences. DAB has come an enormous distance compared to other technologies, to the extent that if a jury were called upon to evaluate it from every angle (technology, marketing, sales, benefits to listeners, social benefits, etc.), it is a safe bet that DAB would arrive well ahead of the others and would be ranked Best in class in a benchmarking of digital technologies for radio.
Delphine Josse studied at the EDHEC Graduate Business School in Lille, France, and graduated in 1991 with a specialisation in Marketing Management. She also studied beforehand at ISIT, a Translating and Interpreting Language School in Paris, where she graduated in translating (English and Spanish) and majored in international commerce and finance. Ms Josse started working as a consultant in the information technology sector at BIS Strategic Decisions (ex-BIS Mackintosh) in France, and conducted various international strategic consultancy assignments. After four years, she embarked as a Senior at BIPE Conseil, conducting strategic assignments for major public and private media and telecom players and, in 1996, she joined TDF (TlDiffusion de France) in the Market Research Department. In April 2001, Delphine Josse joined TDFs Radio Business Unit where she is working as Marketing Manager and is therefore responsible for mix marketing and new product offers in the radio field. She is Chairman of the WorldDAB Marketing Committee.

equipment report

A Pair of Makeovers from the UK
Quad 99-CDP CD Player and Spendor S3/5SE Minimonitor

Paul Seydor

soundstage and solid imaging. Detail is there to be appreciated as part of the overall texture, not flung at you or otherwise spotlighted. Utterly grainfree, the 99 is capable of both warmth and richness and delicacy and nuance that banish completely any ghosts of digital past. Although I am neither a digiphobe nor an analogue zealot, gorgeous is still not an adjective I generally apply to even the finest digital reproduction, but the best sounds from this player really are, well, gorgeous. I used it in a variety of systems and setups, directly driving amplifiers as expensive as the $19,000 Boulder 1060 or as cost-effective as the $1500 Quad 909, with speakers ranging from Spendors high-resolution new S3/5SE to Sonus Fabers Amati ($22,000/pair!) to Quads 988. At $1500, this player enters a highly competitive arena; but when it comes to playing standard CDs, Ive heard nothing better close to its price, almost nothing its equal. The only real consumer issue here concerns the new digital formats, in particular SACD, of which I am an unabashed enthusiast. While Quad has decided to take a wait-and-see attitude, both Sony and Philips are offering multichannel SACD players retailing as little as $300 (some with DVD capability). Its doubtful they equal the 99-CDPs 16/44 performance, however superior their SACD reproduction. But then, the 99-CDP is so competitively priced that you could purchase an inexpensive SACD player if you want to hear what all the excitement is about and still have much less sunk into both machines than you would in any number of more expensive players that neither equal the Quads performance nor offer SACD. This much is certain: the 99-CDP is
eaders may recall that while I have the highest regard for Quads Series 99 electronicsthe 99 preamplifier and the 909 amplifier continue to serve as referencesI found the companion CD player a disappointment [TAS 128]: dull, uninvolving, lifeless. Later, someone associated with Quad told me it was in fact a rather hastily badge-engineered affair so that the company could offer a full Series 99 electronics stack (preamp/amp/tuner/CD). However, Quad recently introduced a replacement, the 99-CDP, and well, lets just say, this is a lot more like it. Retailing at $1499 ($500 more than the 99), the new one was designed by Jan Ertner, the auteur of the much-admired Quad 67, one of the lonely few early CD players that actually sounded like music. Size and styling mimic the 99, which means itll fit neatly into a Quad stack. Unlike the 99, however, it is now sonically worthy of a place there. A quick tour of the ins and outs: Philipss latest three-laser transport, Crystals top-of-the-range DAC (24/192 upsampling), Class A op-amps, filtering of Ertners design, and regulated power supplies all over the place. The back panel has six digital inputs (three coaxial, three optical), an optical digital output, Series 99 Quadlink connectors, single-ended RCAs for fixed and variable outputs, and a removable power cord
(yes, the players now usable apart from the 99 preamp). Outfitted with a volume control (operable only from the remote), the 99-CDP is in fact designed to function as a minimalist preamplifier for a digitally-based system comprising DAB tuners, minidisc players, computers, cable or satellite television receivers, laserdiscs, and DVD players (in fact, with its upsampling, the internal Crystal DAC will improve the sound of many digital sources, including a lot of CD players). Variable outputs are common on CD players, but almost none employs a potentiometer the caliber of the one used here, taken from the superb 99 preamp and fed directly from the internal DAC. As for the sonics, Ertner has managed the trick of all the best Quad electronics: free from electronic artifacts digital ones, toothe listening experience is all about the music, not about tabulating, charting, or otherwise comparing audiophile characteristics, categories, and clichs. In his recent HiFi News review, my colleague Ken Kessler called attention to the 99-CDPs extraordinary openness. No argument there, but what struck me right off was the invigorating life, liveliness, and vitality of this new model. Despite its diminutive physical size, its presentation is big and powerful when called for, as in the Dallas/Litton recording of Symphonic Dances [Pro Arte], with a wide, deep

WWW.THEABSOLUTESOUND.COM

a triumph for all involved. And thanks to its preamp capability, more audiophiles than ever can now own a CD-only music-system virtually of the highest excellence at a price unheard of even a year ago. Think of it: for ten grand you get a Quad 99-CDP, 909 amp, and a pair of 988 ESLs, with five hundred left over for cables or music (or that inexpensive SACD player!). Find another setup costing anything close that will outperform this all-Quad system in any of the areas that matter mostto me, anyhowin the reproduction of music: low distortion and coloration, high neutrality and transparency, accurate tonal-balance, with a disappearing act that leaves just you and the night and the music. new When Philip Swift, Spendors firsta owner, asked me to audition special edition S3/5, my thought was, Why cant they leave well enough alone? My usual experience with special-edition speakers, especially those from the UK that replace perfectly good tweeters with so-called higher performance ones, is that neutrality is sacrificed to brightness, naturalness to edginess, musicality to whatever is currently fashionable in audiophile circles. In the UK these days, that usually means an etched, excessively bright sound, often with a recessed midrange, that sends far too many British reviewers into their treasure chest of unintended euphemisms like tuneful, rhythmic, andthe one that causes me to fling the magazine across the roompacey (is that a serious category of musical or audio performance, is it even a word?). I neednt have worried: Spendor remains Spendor, even under new ownership. The S3/5SE ($1249/pair) shares the cabinet and midrange/woofer with its older sibling the S3/5 ($949 $1049/pair, depending on finish), but has a new crossover (with close-tolerance, low-loss polypropylene capacitors) for improved transparency, higher power-handling, and better integration with the new tweeter, the same used in Spendors SP100. The result is a speaker obviously of the same overall philosophy but with improved transparency and clarity, more detail and

an extended top that nevertheless remains quite smooth, the ability to play louder cleaner, and a subjectively bigger, more authoritative presentation. The bottom end extends no deeper than the S3/5s (specs are identical), but is more articulate, better defined, and firmer. Bass extension with both speakers is adequate for much acoustic music, but really deep stuff or large-scale symphonic material at some amplitude will require a subwoofer. The bass also sounds subjectively more integrated with the rest of the range in the new model. Indeed, the SE suggests a difficult-to-define but readily audible impression of truly outstanding top-to-bottom coherence rare in multi-driver systems, even the better two-ways: the
identity of instruments and voices essentially unchanged as the reproduction goes from one driver to the other. The only anomaly that raises concern is a slight bump in the 3kHz range (confirmed as about 1dB or so in measurements by Robert E. Greene) that brings the SEs response a little forward in the upper-midrange. The effect is mild, benign, and unaggressive, and the response otherwise so well behaved as to allow the new speakers superiority in other areas to constitute a perfectly acceptable basis for preference. Still, while the SEs midrange is quite accurate compared to most speakers, that of its older sibling sounds flatter to my ears, as well as exhibiting a warm, mellow, utterly beguiling musicality that the more
transparent, analytical, and detailed new speaker does not match. But perhaps these qualities are mutually exclusive. In any case, detail honestly retrieved, and the SE certainly does that, is equally hard to give up, allowing you to hear deeper into the music, with greater separation of line and clarity of texture. As one enthusiast of the older speaker said, I always felt it could use more resolution and now it has it. In practice this reaps, among other things, a noticeably truer retrieval of ambience. Robina Youngs superb recordings of the Anonymous Four were made in several different settings, including the studio at Skywalker Sound in Northern California. The S3/5 does not obscure the various acoustic characteristics, but the SE reveals them that much more immediately. While any number of fine moderately priced electronics are the obvious choices to drive this speaker, I hate to have report what happened when I hooked it up to $35,000 worth of Boulder amp and preamp. Wow! Lets just say that while this combination would be completely stupid from a purchasing standpoint, the SEs were certainly high-resolution enough to make obvious the superiority of the Boulders, which in turn pushed the speakers to ever higher plateaus of performance. Jacintha singing In the Wee Small Hours of the Morning or Mary Chapin Carpenter Alone But not Lonely were about as good as Ive ever heard them this side of Quad ESLs: clean, open, room filling yet focused, with a presence you could feel and a bloom you could bask in. And the SEs could easily absorb a lot of the Boulders 300/300 wattage to astonishingly powerful effect: Vadim Repins violin recital (Tutta Bravura [Erato]) was quite breathtaking in its combination of dynamism and you-are-there presence. Lest I scare everybody half to death, let me say that substituting a Quad 909, driven by the 99-CDP, for the Boulder pair was scarcely less satisfying, if without quite the riveting vividness. Indeed, the utter absence of electronic artifacts from the Quad electronics mate so syn-

THE ABSOLUTE SOUND s AUGUST/SEPTEMBER 2003
ergistically with this more analytical iteration of the S3/5 that Id be surprised if dealers selling both dont come up with an all-in-one starter system comprising a 99-CDP, a 909 (its 140/140 wattage an ideal match), and a pair of SEs. Its a starter few serious music-lovers will ever outgrow, especially if they add, say, the Spendor subwoofer, bringing the total to about $5400 for a CD-based system of wide frequency response, very good dynamics, and excellent transparency that for high resolution and sheer musical involvement would be hard to beat. Both the S3/5 and the SE are outstanding speakers, and a first-time buyer should carefully audition each. But if Philip Swift and his design team could somehow iron out that 3kHz wrinkle in its response, then, with its already superior transparency, resolution, and dynamic range, the SE would lay serious claim to being the finest
minimonitor on the planet. Until then, let me echo that reprobate MacHeath from The Beggars Opera: Id easily be happy with either twere the other dear charmer away. &
D I S T R I B U TO R I N F O R M AT I O N QUAD 99 CD-P IAG America 180 Kerry Place, Norwood, Massachusetts 02062 (877) 440-0888 iagamerica.com Price: $1499 SPENDOR S3/5SE Q, S, & D 33 McWhirt Loop, #108 Fredricksburg, Virginia 22406 (800) 659-3711 www.qsandd.com Price: $1249$1449/pair (depending on finish)
S P E C I F I C AT I O N S Spendor S3/5SE Driver complement: Frequency response: 9020kHz 3bD (-6dB/ 70Hz) Sensitivity: 84dB Impedance: 8 ohms Recommended amplifier power: 15125 Watts Dimensions: 12" x 6.5" x 7.5" Weight: 10.3 lbs. A S S O C I AT E D E Q U I P M E N T SME 20/2 turntable & Series IVvi arm; Dynavector Karat pickup; Boulder 2008 and Phenomena phono stages; Sony STD777ES SACD CD player; Boulder 1012 and Placette preamplfiers; Boulder 1060 and Quad 909 amplifiers; Sonus Faber Amati and Quad 988 speakers; Audio Physic Minos and REL Stadium III subwoofers; Kimber Kable Monocle speaker cable and Select interconnects (balanced and single-ended)

MANUFACTURER COMMENTS

Aesthetix Io and Callisto Plinius SA102 Integrated Amplifier Sugden A21a Integrated Amplifier
Editor, I wish to express my sincere gratitude to Mr. Valin for his incredibly thorough review. His consideration of the Io and Callisto as landmark designs like the ARC SP10 MkII or SP3A-1 was the most poignant for me, as I have long been a fan of those legendary designs. The Io and Callisto were originally designed in 1994. The circuit design remains identical to this day, although huge sonic improvements have been attained in the Signature versions through carefully selected capacitor, resistor, and wire upgrades. The earlier versions have been reviewed in TAS, and received awards and recommendations; the Signature versions reviewed are truly improved. Upgrades to earlier versions are available, with no difference between a newly manufactured one and one that has been upgraded. We can also add a second power supply to any version of the Io or Callisto. The Io and Callisto are not for every consumer, because of their size and price. We have endeavored to bring their performance to a more accessible level with our new Saturn Series. Consisting of the Rhea phono, Calypso line and Janus all-in-one preamps, these are single chassis components that are direct descendents of the Io and Callisto. They use fewer tubes, solid-state discrete regulation, full remote control (even phono gain and loading), consume less power, and produce less heat. Their cost is roughly half of the Io and Callisto. Mr. Valins comment about having to get off ones fat ass to adjust the Callisto is true. I have been working on a motorized remote control system for the Callisto that will adjust volume, balance, phase and allow direct muting. It should be available by fall. Lastly, while Mr. Valin preferred single-ended connections in his system, it should be understood that a preference for either is highly system dependent.

Jim White, Aesthetix

Editor, Further to our investigations of the SA102 reviewed by Wayne Garcia we have found that some incorrect resistor values were inserted into pre-driver section in both channels of the amplifier. Under certain circumstances this would cause a small burst of high-frequency oscillation that may have been the smearing that Wayne reported. Although this is of a very low level it is conceivable that this could be detected in a high-resolution system. Our factory records showed that five SA102s manufactured on that day were affected and all were delivered to the U.S. Our U.S. Distributor, Advanced Audio, has located and modified these amplifiers and our factory test routine has been updated to prevent this happening in the future. We sincerely apologize for the inconvenience and hope that another look at the SA102 by TAS will show its Peter Thomson true capabilities.
Spendor S3/5se Loudspeaker
Dear Editor: There was always something magical about the sound of the Spendor S3/5 mini-monitor and its predecessor, the legendary LS3/5a. When we designed the new S3/5se, we were determined not to lose the captivating sound that has always characterized these BBC inspired reference class loudspeakers. We also wanted to demonstrate that under its new ownership Spendor is in safe and caring hands. So we were very pleased to read your accurate review of the Spendor S3/5se loudspeaker in which Paul Seydor has examined its full capabilities with amplifiers ranging from normal to exotic. We were delighted that Paul felt able to assure your readers that Spendor is still Spendor.
Philip Swift Managing Director, Spendor Audio Systems Ltd
Editor: Wed like to focus on three elements we found particularly noteworthy in Neil Gaders thoughtful review. 1.Temptation. Neil experienced a phenomenon common among listeners of the Sugden A21athe temptation to turn up the volume to hear even more of the natural presentation our Class A full-throttle approach can offer, until the amp runs out of steam as all amps eventually do. Other types of designs of higher power rating can exhibit more audible distortion well before the onset of clipping. The more subtle dimensionality and ambience Neil notes also reflect the absence of distortion and noise in the A21a. For these reasons you may just end up listening to it more comfortably for longer sessions. One thing the A21a will not sustain is head-banging at a rave. As much as wed like it to happen, it cant be done. Sorry, mate! 2. Caveat. Careful system-matching is a must rather than an option. However, this may be as much a matter of the inherent quality of the speaker design itself as its efficiency. NG writes at lower volumes it sounded awfully sweet [by implication microdynamic] on the [inefficient] ATC SCM20SL. This is largely due to our Class A design which offers splendid late-night/apartment listening rare among amp designs with lower current. 3. Philosophy. J. E. Sugden and Co. indeed follows the adage NG invokes: If it aint broke, dont fix it. A pioneering and classic design handmade in West Yorkshire by a familyowned company still speaks strong value and validity 30 years oneven if the A21a profile is retro and the siren call of its bells and whistles is inaudible. What better hi-fi investment and experience can one offer?

George Stanwick Stanalog Audio Imports
Wilson Audio WATT/Puppy System 7
Editor: Our thanks to Robert Harley for his concise, yet insightful assessment of the Wilson Audio WATT/Puppy System 7. We especially appreciated Mr. Harleys complete understanding of the performance capabilities of the system in spite of his relative lack of prior in-depth experience with our products. In some respects, this is the situation experienced by many new purchasers of our products, so Mr. Harleys comments are quite relevant to the prospective consumer. Two aspects of the review were particularly gratifying to me, personally. The first is the clean, unambiguous, and efficient language of the text. The review lucidly presented the merits of the WP-7 and the reviewers response to them. Refreshingly absent were any hints of self-aggrandizing elitism (which is offensive to the target party and boring to everyone else) or sophomoric specious conjecture. Every detail was well researched and accurately portrayed. The second satisfying aspect was the
realization that when you are investing in any high-end work of industrial art, you are acquiring more than the hardware. Parts of the product include elements as practical as customer service and as profound as the depth of the quality of execution of the concepts embodied in the hardware. Those elements should be part of every high-end product assessment as they were so clearly in this fine review of our Wilson Audio WATT/Puppy System 7!
David Wilson Wilson Audio Specialties

Plinius

Editor: