mk2

I recently wrote about a Hsu Research subwoofer, "Shaken & stirred: The Hsu VTF-1 MK2," but today I'll cover a complete Hsu 5.1 channel sub/satellite system. There are four HB-1 MK2 sats, one HC-1 MK2 center channel speaker, and the VTF-1 MK2 sub. The six pieces sell for $1,159, and the sound is truly astonishing for the money. A Denon AVR-1912 receiver and an Oppo BDP-93 Blu-ray player completed the test system.

The Hsu system has extraordinary power and dynamic oomph. It also sounds sweet at late-night listening levels, but it can rock with … Read more

The Hsu Research VTF-1 MK2 is, hands down, the best-sounding affordable subwoofer I've heard to date.

It was designed by Poh Hsu and I have fond memories of the first time I met him, at a Consumer Electronics Show in the late 1990s. He had a room filled with subs and a single pair of tiny speakers hooked up to an inexpensive receiver. He played a short series of music pieces with thundering bass drums, mighty organs, and hard-hitting rock bands, and those baby speakers sounded like heavyweight towers. It was a great 2-minute demo, and when it was … Read more

It has rolling treads, three fingers, and opposable thumbs. The MK2 robot arm and torso system looks like a cybernetic cowboy in the making.

Ohio-based HDT Global says its MK2 system can be deployed on any robotic mobile platform, such as Qinetiq's Talon bomb-disposal robot, pictured above.

With two fingers and a thumb, its dextrous hands (as seen in this vid) can use a variety of tools. Or users can swap them out for end effectors such as scoops for digging.

The remote-operated system can be configured to have up to 27 degrees of freedom, or axes of movement, with two arms. It could be used to lift a 110-pound 155-mm projectile, extract a detonator, or unzip a suspicious backpack that someone has left behind. … Read more

Sound & Vision magazine's Michael Trei recently tested three turntables: the Rega Research P1 ($395), Music Hall mmf 2.2 ($449), and Technics SL-1200MK2 ($699). And guess what: the most expensive turntable wasn't the best-sounding one!

Mike's an old friend and a major turntable guru in his own right. His knowledge of all things analog runs deep, and he regularly sets up finicky high-end turntables for the rich and famous, including the president of a major record company, here in NYC. Mike set up the VPI Classic turntable I bought last year.

The three turntables covered in his report, the Rega, Music Hall, and Technics are all excellent, but I was more interested in the belt vs. direct-drive aspect of the reviews. The Technics is a long standing DJ favorite, for its powerful, direct-drive motor, which is a big plus when you're back cueing and scratching records. Direct-drive 'tables never wowed the high-end crowd, they favor belt-drive turntables. The appeal is mostly based on the fact that the belt "decouples" the motor from the platter. So whatever noise and vibration the motor makes as it spins aren't directly transmitted to the platter, and therefore to the record. No wonder the vast majority of turntables sold to audiophiles are belt-drive designs.

Mike may be a hard-core audiophile, but he's not closed-minded about direct-drive turntables, and in fact owns a Technics direct-drive turntable (and many belt-drives as well).… Read more

If you have ears, prepare to open them now.

I've just reviewed a bunch of contenders for the world's best full-size, over-the-ear headphone: Audio Technica ATH-W5000, Denon AH-D7000, Grado PS-1000, Sennheiser HD 800, Stax SR-007Mk2, and Ultrasone Edition 8 headphones--and all boast higher MSRPs than the JH Audio JH 13 Pro in-ear headphone.

Sure, full-size headphones can be used with iPods and MP3 players with varying degrees of success, but they're a lot more of a hassle to lug around than the JH 13 Pro. Honestly, I prefer the sound and comfort of over-the-ear models compared with in-ear headphones. Then again, the JH 13 Pro is a very different type of in-ear design, it uses six drivers--two woofers, two midranges, and two tweeters--to lower distortion compared with other in-ear designs. It's a difference I can hear.

The JH 13 Pro's resolution of fine detail is extraordinary, drums sound more realistic than I've heard from any other type of headphone. The JH 13 Pro is "fast," cymbals' shimmer and sparkle the way they do in real life, and when a drummer whacks his sticks against the drums' metal rims, the sound is more realistic. Dynamic oomph and slam are the best I've heard from an in-ear headphone.

The JH 13 Pro's bass goes deeper than any in-ear headphone to date, but it's the way these headphones decode palpable bass textures that's highly addictive. Electric, acoustic, and keyboard basses sound more different from each other with the JH 13 Pro. Switching over to Monster's excellent new Turbine Pro Gold in-ear headphone ($299) is startling, the Turbines sound mushy and muddled by comparison. The Monster has more mid-bass fullness, which some listeners may prefer. I do not.

The JH 13 Pro's midrange clarity is radically better than any in-ear 'phones I've used to date. Its bass, midrange, and treble are better balanced and accurate than what I'm used to from in-ear designs. … Read more

Lucky me, I've reviewed most of the world's very best headphones, including the Audio Technica ATH-W5000, Denon AH-D7000, and Sennheiser HD 800. But now there's something even better: the Woo Audio WES headphone amplifier ($4,500) and Stax SR-007Mk2 headphone ($2,410). The complete review can be found on the Home Entertainment Web site.

Yeah, it's a lot of dough, but the Woo/Stax combo creams the other contenders for world's best headphone sound, and the pair goes for less than the price of a world class, high-end camera, like the Canon EOS-1Ds Mark III. The camera's great now, but in a couple of years it'll be hopelessly out of date. Great audio is simply a better long-term investment.

Stax headphones use a very different operating principle than dynamic headphones (pretty much every headphone from lowly earbuds to full-size headphones are dynamic designs). Stax has been making electrostatic headphones since 1960 in Japan, and the company's current flagship model, the SR-007Mk2, is what I'm using with the Woo WES amplifier. The Stax is a big and comfy design.

The Woo WES is an all-triode tube drive, fully balanced design; the prototype unit I'm reviewing has a total of 10 tubes (four EL34 power tubes, four 6SL7 drive tubes, and two 5AR4 rectifier tubes), but production models will have 11 tubes. It works with Stax and Sennheiser electrostatic headphones only. The machined, all-metal dual chassis is beautifully crafted.

The WES, like all Woo amps, was designed by Wei Wu, and handcrafted in Woo Audio's factory in New York City. Each WES will be built to order over a four-day period; it's slated for release in October 2009. The preintroduction price is $4,500, and full retail is expected to be $4,990. Woo prices start at $470 for the WA 3. All Woo Audio electronics are sold direct from the factory, the waiting list is three to four weeks.

A look inside reveals no circuit boards; all wiring will be "point to point." That's a very expensive way to manufacture amplifiers, but Woo Audio thinks point-to-point wiring makes for better-sounding amps. The amp also features handmade inductors, and even the machined cone feet are designed specifically for the WES.

The clarity of the Woo/Stax combo with acoustic jazz mimics the way live, unamplified music sounds in a good concert hall or club. The Woo/Stax is the closest thing to being there I've heard to date.… Read more