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Trilogy 906

I left hi-fi retail in 2015 and moved to Devon, bringing with me the best system that our limited budget would allow, and made a few purchases on the advice of respected industry friends to ensure that I could continue to enjoy my record collection for as long as possible. Included in the equipment which followed us here was a Trilogy 907 phono stage, a very handsome two box device with all the delicate audio parts in one very elegant small box, finished in a lovely gloss black, with a power supply in a second box. I kept that at the heart of my system until last year, when I sold it on. It had an excellent sound and was very configurable to match almost any cartridge via a set of dip switches on the underside. My only reason for changing it was that I had reviewed a rival unit for The Ear and just felt that it had a very slight sonic edge and was also more versatile as far as easy configurability was concerned. The other reason was that bane of the life of everyone who has this hobby/obsession (delete as appropriate) - I just fancied a change.

Fast forward to January 2020 and an incoming message from a friend who runs Tangerine Audio, saying he had just taken on a dealership for the Trilogy 906 because he rates it so highly, and would I like to review one for The Ear? Tangerine Audio’s main line of business has been the manufacture of after-market parts for the venerable Linn Sondek LP12, their top plate, armboard, sub-chassis and cross-brace are key components of my own LP12, and are held in very high regard by many other owners of LP12 decks. If the Trilogy 906 has the Tangerine Audio folk excited, then I really should take notice.

The Trilogy 906 has been around for a while now, so this is not a review of a hot new ‘must-have’ gizmo, but rather another chance to look at a device which has slowly but surely built a fine reputation since its launch. British audio engineer Nic Poulson founded Trilogy back in in 1990 and has dedicated the last three decades to building a roster of audio products which reflect his own belief in performance, reliability, pride of ownership and value for money. He also has a fine eye for elegant design and the 906 phono stage is a small but attractive single box.

 Click here to download the review from The Ear.


Voltaire Integrated Sound System

Munich - Although the cancellation of Munich High End 2020 came as a great disappointment to us, we’ve actually found a Silver Lining: Helmut’s efforts to make the NEW “Voltaire” ISS (Integrated Sound System) a masterpiece continue and we would not have had a finished unit to demonstrate at Munich. Our founder is now cloistered in his lab making painstaking design and component decisions, so we’re hoping to demo Voltaire at late-2020 shows. Voltaire will be worth the wait…promise!

Click here to download the review from The Absolute Sound.


Raves For A Full Brinkmann System

In the January, 2020 issue of The Absolute Sound, Jacob Heilbrunn tests a Brinkmann Edison Mk II Phono Preamplifier, Nyquist Mk II DAC and Marconi Mk II Line Preamplifier …and loves them! Even though our Brinkmann components cost a small fraction of the components to which Jacob compares them, he found the Brinkmann system a match for the world’s most expensive gear, concluding, “It represents formidable German engineering allied to a profound sense of musicality that will be difficult for most listeners to resist.” Thanks, Jacob: we couldn’t agree more!

Click here to download the 3 page review.



Brinkmann Nyquist Mk II DAC, Marconi Mk II Linestage, Edison Mk II Phonostage

In New York, over a decade ago, I first came across the Brinkmann Balanced turntable. It was hooked up to a tube power supply—an act of dedication that inspired confidence in the company’s mission to extract the very best possible sound from vinyl records. It remains the only turntable I’ve seen that was powered by tubes.

Helmut Brinkmann’s eponymous company is probably best known for its turntable line, but it has produced a variety of front-end equipment for several decades. Now this German company is mounting a fresh effort to make a mark in that sphere with a passel of new products, including its Nyquist DAC Mk II, Edison Mk II phonostage and Marconi Mk II linestage—all of which, incidentally, contain new old stock Telefunken PCF-803 tubes that were originally used in color television sets back in the 1960s. Brinkmann rates them as having a life expectancy of around twenty years. Brinkmann’s gregarious American representative, Anthony Chiarella, dropped off all three of the Brinkmann units at my house and listened to them for an afternoon before leaving them with me for review.

I wasn’t sure what to expect from the Brinkmann gear, but I did know that the company’s emphasis on tubes is very much a good thing. I’ve heard a lot of solid-state equipment in recent years, but have never been fully convinced that it can quite attain the ethereal regions that tubes seem to reach and deliver. There is a certain nuance and alacrity, transparency and silkiness, that tubes offer. Don’t get me wrong: Solid-state keeps getting better almost every day in every way. But as with vinyl, the case for using tubes isn’t going away. If anything, it’s getting stronger.

Click here to download the review from The Absolute Sound.