More Magico Magic: The Q5s To Be Shown With Technical Brain Electronics
It’s almost unfair.
Not only does Magico come up with what promises to be a more affordable statement speaker in the Q5, but it has (as of this writing) decided to show at CES with what I think are the most lifelike solid-state electronics I’ve yet heard. I may be letting a cat out of the bag here in re my future TAS review, but since this cat is going to pop out on its own in Vegas in just four days, I guess that’s OK.
Those of you unfamiliar with Naoto Kurosawa’s solid-state marvels might want to take a look at my blog from last summer at www.avguide.com/blog/high-end-audio-japan-part-four-solid-state-technical-brain. As I said in that blog, in Japan Mr. Kurosawa is an acknowledged technical wizard and bona fide audio perfectionist. His TBP-Zero ver.2 monoblock power amplifiers and TBC-Zero preamplifier use unique patented circuits that eliminate emitter resistors and any mechanical contacts, relays, or line fuses. With special hand-wound flat-coil fifty-pound transformers that have very low magnetic flux density and meticulously matched bipolar transistors in a chassis in which all wiring and components are painstakingly laid out to eliminate noise and vibration, the fully-balanced, non-servo TBP-Zero ver.2 achieves megahertz bandwidth with no group delay from DC to 500kHz, a rated output of 350W into 8 ohms (700W into 4 ohms, and 1400W into 2 ohms), peak current of over 100 amps, a damping factor of over 550, and distortion less than 0.02% maximum into 8 ohms at full rated power from 20Hz to 20kHz.
As genuinely exceptional as these specs are, it is the sound of Mr. Kurosawa’s amp and preamp that is going to turn heads. And do keep this in mind—those of you who are heading for Vegas—when you audition the Q5s because what you will be hearing isn’t just a potentially great pair of speakers, it is also an unquestionably great preamp and amp.
Since I have heard the TBP and TBC with Magico M5s (and I believe I’m the only one in the U.S. who has heard this combo, including Magico’s Mr. Wolf and Mr. Tammam), I’m here to tell you that, with these speakers, the Technical Brain electronics set a standard of sonic realism that other top solid-state contenders—Soulution and BAlabo, par excellence—don’t quite equal. This isn’t to say that Soulution and BAlabo don’t have their own areas of considerable strength: The Soulution gear is incredibly transparent to sources and incredibly high in resolution, telling you exactly how well or how poorly a record has been recorded, while the BAlabo gear is ravishingly beautiful in timbre and texture on all music (and no slouch at resolution, either), making listening a truly joyful experience. For those who want to hear precisely how a record was engineered and mastered or just want to hear music made beautiful, they are, respectively, the kings.
But if you are one of those listeners who wants recorded music to sound like the real thing (in so far as the engineering allows it to sound like the real thing), then Technical Brain may well set the standard. To my ear the TBP and TBC sound a bit like ARC tubes in that they have a lifelike luminousness in the mids and upper mids that makes instruments and vocalists sound more natural, more present, more “there.” At the same time, they reproduce exceptional amounts of musical detail in the midrange and at the frequency extremes and do so without adding grain or color. With the M5s, the Technical Brain gear makes a sound to die for, if the sound of the real thing is what you’re after. Which is why I am waiting for CES before jumping on the Q bandwagon. I’ve heard the TBP and TBC with M5s, and the Q5s are going to have to sound really special to outdo what I’m already very familiar with.
We will soon see. One thing is certain: Magico is pulling out the stops for this debut.
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Comments
Hey JV:
So this month's Best OF is now the Technical Brain stuff. Hmmm. Errrr..how can it be better than last years Best Of...the Soulution stuff? That sounded like "nothing"? So how do you top that? What is next month's Best Of? Do you ever get tired of being bombastic?
Hype,
You aren't reading me carefully (or I'm not clearly stating what i think).I have said this before and I'll say it again: There are, IMO, three types of listeners in the high end, although these types tend to overlap. First, those who, first and foremost, want recorded music to sound as much like the real thing as possible--I call them the "absolute sound" type. Second, those who, first and foremost, want their recordings to sound exactly as good or as bad as the engineering and mastering allow them to sound (and want to hear the engineering and mastering, to boot)--I call them the "faithful to mastertapes/mike feed" type. And third those who are, primarily, less concerned with the absolute sound or the sound of mastertapes and more interested in hearing their recordings sound as beautiful and moving as possible--I call them the "as you like it" type.
The Soulution is tailor-made for the "fidelity to mastertapes" type (who also have a strong interest in hearing things sound real, whenever the engineering/mastering allows). The BAlabo is tailor-made for the "as you like it type" who want recordings to sound beautiful, first and foremost, but who also have a strong interest in the sound of the real thing (albeit in a dulcet form). The Technical Brain is tailor-made for the absolute sound types, into which category I guess I fall most often (although I also like music to sound beautiful and transparent to sources). No one of these three amps is perfect for every type of listener.
However, I think you have a point about the words "the best," which weren't clear enough in context. So I've changed the sentence to read "the most lifelike," which is more precise and less, uh, bombastic.
JV
Hope this helps.
And would it not be maddening to recommend amps to each type of listener? Amp A is for you Absolute Sounders...Amp B is for you "As You Likers"...that is nuts.
Also, can you describe where and and under what conditions you heard the TB/Magico Combo.
For some reason, I get the impression you are looking forward to this CES big time!
Hype,
I don't think it is maddening to recommend different electronics to different types of listeners; I think it is realistic. In fact, we do it all the time. Some guys want the absolute sound, first and foremost, ALL the time, regardless of engineering. Some want to hear precisely what was recorded, for better or worse. And some just want music to sound lovely and moving (and real, in a beauteous way). Of course, in different moods, we all want ALL of these things in various proportion, but I think we favor one "type" of sound ahead of others. Unfortunately I don't think there is ONE amp that does all things equally well. Thus my trio of recommendations. NO ONE would make a mistake buying Soulution! It is truly great and truly standard-setting in clarity, resolution, and transparency. The again NO ONE one would make a mistake buying BAlabo.It is also great. But its nuances are substantially different than those of Soulution gear; its overall presentations is substantially different. It is, as noted, tailor-made for those who want their music to sound gorgeous AND real. (BTW, there are certainly other solid-state amps and preamps out there I HAVEN'T heard that are equal contenders. All I can report on is what I've listened to--at length.)
FYI, I heard the TB/Magico combo in my listening room. (Naoto Kurosawa came over from Japan to install his electronics in my system several months ago, after I'd heard it in Japan.) I listened to the TB gear for better than six weeks before I sent the amps back so they could be shipped to Wolf for show evaluation. At the time I had no idea that they would end up being used with the Q5s, since good ol' Alon didn't breath a word about the Q5s to me (or anyone else).
And, yes, I AM looking forward to CES!! This is going to be an interesting show.
Jon
Well said and interesting post. Here is another interesting thought. All of us excepting the very luckiest have to live with ONE amp that I guess we feel covers as many bases as possible.
I guess one would have to take your recommendations, opinions and observations and use those in conjunction with auditions
to ultimately decide what they can live with as their reference.
I truly applaud your quest to try to hear the best. And as you said, it is virtually IMPOSSIBLE to hear it all.
But the cream rises to the crop I would say.
Very cool about the personalized set up. I guess you are going to be careful about cable to use!
I very much look forward to the Q5 report.
JV:
I can't wait to read your upcoming reviews of the Technical Brain electronics and the new Maggie 1.7s. We are truly in a new Golden Age for both exotic and affordable high-end gear.
Let me also say that I really appreciate the time you take to seek out the best of the best, from Da Vinci to Soulution to Technical Brain. No other hi-fi rag covers as much global ground as TAS, and you lead the pack in this respect. Kudos...
Amandela
Amandela77
Thank you, Amandela!
I must admit it's been a joy to "seek out the best.."
Jon
JV:
I agree with your listener "types"..but you did not address the fact you called the TB gear the BEST solid state you have heard. 2 months ago it was the Soulutions. Poor things, they have been tossed to the side like one of Tiger Wood's skanks.
Hype,
I added the last par to my reply above after your most recent post, changing the words "the best" to "the most lifelike." But, for the record, in my TAS review I did NOT call the Soulution "the best I'd heard." Allow me to quote my conclusion:
"In my interview with Alon Wolf in Issue 196, I said that I thought there were three types of listeners (though these types tend to overlap): first, those who primarily want recorded instruments and voices to sound like live music—what I call the “absolute sound” type; second, those who want to hear exactly what has been recorded, whether it’s lifelike or not—what I call the “fidelity to mastertapes” type; and third, those who could care less about the absolute sound or mastertapes and just want to hear their music sound thrilling and beautiful—what I call the “as you like it” type. If you fall, primarily, into the second group—the fidelity-to-mastertapes type—or if you’re in the first group and lean toward the second, then Soulution is a must-listen. I have never reviewed electronics that are more transparent to sources (and more transparent to what the rest of your system, from front end to back, is doing to those sources). These Soulution components will make recorded music sound precisely as real or as canned as the recording and mastering engineers (and your gear) allow it to sound. For me, they set a new standard of clarity, neutrality, and transparency in hi-fi electronics..."
I stand by what I wrote. The Soulution amp and preamp are the clearest, most colorless, most transparent to sources electronics I've heard (more detailed and transparent to sources than the Technical Brain). Nonetheless, for a listener who hungers for the absolute sound ahead of, well, call it "absolute accuracy" I think the Technical Brain may hold a slight edge. The TB amps are also considerably more powerful than the Soulution amps. I will discuss this issue when I review the TB gear with more precise comparisons. At home I tend to circulate among the three contenders--Soulution, BAlabo, TB--as the mood strikes me. They are all superb.
JV
I gotcha. I find it very admirable that you changed the post. Not for any other reason but that shows you are open minded.
My honest opinion is that you are very passionate about this hobby...interact with you readers on a level unheard of for a reviewer of your stature...(have you seen the condescending and downright arrogant way the Sphile writers treat their readership?) ...have very curious ears...and are always and enjoyable read...even the gear at hand is lifetimes away price wise...
My only "criticism" of your style is that you get, um, a little excited at times.
Thanks, kiddo.
Hey, I'm an enthusiast. If I start losing that, then what the heck good am I to you guys or to this industry?
Seems like another top teir product. What's wrong with having more to choose from? Those who can afford it and are serious should audition all 3 and select the best to your taste. A lot of "the best" coming out in recent years. I wouldn't just buy what's the latest best or trendy. I would buy what I like in my price range. JV and others can only point you to a few products in a perticilar catagory. YOU have to choose and spend YOUR money to buy for Your home and YOUR listening. I have no problems with more then one best as long as not too many things are the best.
Sam,
Thanks!
I completely agree with your point about listeners ultimately having to choose for themselves, BTW. When it comes down to sliding that credit card through a slot, YOU gotta choose what's best for you. All we can do is to point you towards the options that we think are worthiest.
Jon
Thanks JV for taking the time to explain the different type of listeners. I definately fall in the first category, though as you state, depending on the mood I drift into the other two...........Keep the great reviews and previews coming.
Thanks for the kind words, wd!
JV, I have been pondering something since I first read your intriguing idea of the three categories of listeners. It is the issue of music production; In the grand scheme of things, extremely little music released today is a pure recording of a musical event in a physical space without any meddling. Ponder a singer-songwriter for example – He/she is likely recorded with one mic for the vocals and one for the guitar. This means that even in this very basic and puristic scenario we're a step removed from "the real deal" since live you listen with the equivalent of a single stereo mic, and not two directional microphones.
My point with this is that the vast majority of us spend our time listening to produced music, as opposed to purely recorded music. Compressors, EQ, amplification, distortion, synthetic reverbs, effect pedals, delays, and the list goes on. Now my question is whether the MB gears adherence to "the aboslute sound" ideals become irrelevant when applied to music for which there is no "absolute sound" in its strict definition?
Now you can argue that philosophically, even a synthetic reverb can be regarded as a type of instrument as it adds to the sonic sum, and that you can listen to it with the same "absolute sound" scrutiny as you'd apply to the recording of a cello. But then the line separating "absolute sound" and "mastertape adherence" is getting very blurred!
So for someone who listens exclusively to more or less "produced" music, would the MB amps be superflous? If the truest sound in the recording is the mixing and mastering desks, wouldn't Soulution remain the top choice even if you're an "aboslute sound" kinda guy? Not that I'll afford any of this, but I find these ideas intriguing and I'm sure this philosophy can be applied to lesser gear too.
ukiro,
The Soulution might be the best choice and then again it might be the worst choice. Think of it this way: the Soulution 710/720 amp and preamp are the MartinLogan CLX of solid-state (minus the Logan's roll-off in the bass)--you will hear everything with unexceeded clarity, including, for better or worse, bad or indifferent engineering/mastering (in other words, the Soulution gear makes the engineering/mastering as present as the musicians); the BAlabo is like the Quad 2905 of solid-state--sweet (albeit with perhaps the best bass of this trio of contenders), musical, gorgeously rich in color and texture, highly detailed (challenging the Soulution), and quite realistic but not as "neutral" or "transparent to sources" as the Soulution gear in the mids and treble (although MUCH more listenable on poor-to-average recordings); the Technical Brain is like the Magico M5 of solid-state--not quite as high in low-level resolution at the lowest volume levels or as clear-as-glass neutral as Soulution's 710 (although it comes mighty close and I will need more listening to confirm this), but astonishingly realistic in tone color, texture, dynamic, and imaging at medium-low to loud levels, with an ARC-like illumination and presence in the midband and exceptional grip in the bass that make voices and instruments sound "there" in the room with you.
Jon
Ukiro, the audyssey audio khartago is always there. A close second to the solutions and only $1k vs. $40k+ for others.
JV, at the CES/THE show can you also take/post some pictures of the New Magico speakers, the DAC he is using as well as the Music Server being used by Alon Wolf. Pictures of the MG1.7 and equipment will also be nice. Thanks.
Will do, Sam.
JV, is the Soulutions in question in this comparison exclusively the 710 and/or the 700s? (which have a bit more umphhh in the musicality of its presentation (at least in my mind).
I agree with you about the 700s vis-a-vis the 710. They ARE more gemutlich--warmer, richer--than the 710. But then I don't think the 700s are quite as neutral and transparent to sources as the 710, which is a paragon of clarity and resolution. When it comes time to compare in print I'll discuss both of the Soulutions in detail. You know we're talking about four amps (if you count the two Soulutions separately) at the very pinnacle of solid-state excellence. What's a bit funny is how little they sound like one another (even the two Soulutions), and yet each is capable of sounding fool-you realistic given the right sources.
sorry, my posting wasn't too clear. i meant, are you comparing the 710 to the TB and BAlabo in this test, or are you comparing the 700s. Or are you stating that both the 710 and the 700 fall into this category?
JV, I really enjoy your report and in depth, well written review on Soulution and could not wait to see your final review on BAlabo and Technical Brain. However, one very frustrating thing is that these 3 amps are not exactly easy to find and one is unlikely to be able to audition them in similar system. You made some comparison of Soulution to Audio Research 610T (at least in passing anyhow). One really wonder how these 3 amps would compare to more widely distributed but highly regard solid state amps such as Pass, Spectral, Krell, ML, Burmester etc. At least more people will have some idea of how these amps sound and probably make the comparison a bit easier to make a reference point to. I wish I can afford one of these amps :(
Suteetat,
Distributed by Axiss, Soulution amps are fairly easy to find--simply go to http://www.axissaudio.com/ and click on "Find A Dealer." BAlabo is distributed by Fred Nadel. Contact him at nadel [at] balabo [dot] com for auditions and/or local dealers. Technical Brain doesn't yet have distribution in the U.S., but I'd imagine that situation will change after CES.
Your point about comparisons to more widely available electronics is well made. Of the three amps, the BAlabo sounds most like MBL's superb electronics, albeit better; the Technical Brain, as noted, bears a bit of a resemblance (at least in the mids and upper mids) to ARC, while Soulution really doesn't sound much like anything else--in its neutrality and transparency to sources it is unique in my experience.
I wish I could afford theses amps, too, BTW.
Jon
Jon,
What it really seems like is going on here...is that you seek the most absolute information and clarity and accurate representation as technology can allow; and then, with those "bits" you wish to have the luxury of picking and choosing the ones (and ohs) you wish, and next adding air or atmosphere "bits" that are apart of real life performances to the mix- this, which is re-created mostly by experts who don't recreate the real life "bits" from a recording of actual sounds but rather whom push around the sound (as it were) until that which cannot be captured via recording technique is non-the-less assembled simply by ear and acoustic/digitized effects.
At least that what it "sounds" like you are hearing (pun). jl
Jl12 man that post is hard to understand. What exactly are you saying?
Heck, as long as those TPBs/TBCs don't have any zeros or should I say "$__ 000.00 after their name, I'm game!
I do think it not inconsistent to be an absolute sound type AND a mastertape type simultaneously, although it would seem that recorded music of any type would simply be an amalgamation of the TAS/mastertape. Unless recorded music can sound more real than the mastertape, there should be no dichotomy. I do get your point, though.
I, of course, want it to sound as "live" and "absolutely real" as the mastertapes are -- but no realer, probably because I can't imagine how something that's recorded would SOUND more real than the master tape. But then...I haven't heard a master tape, either!! So, I might be extremely happy with something that sounds like the master tape.
Clarification: information (be it analog/digital- recorded/mixed/amplified) is captured and can be aplified to a limit.
next...
There exists (be it in the analog/digital domain) bits of sound that cannot be captured in any recording live or in the studio- using todays technology.
therefore...
these unrecordable aspects of live sound must be created by recording engineers that do not use actual "bits" of the actual sound recorded and so must rely on creating sound that matches what their senses tell them they hear- so the human sense becomes the fullest recording studio. J
I just hope they comeout with Q versions of v2, v3, mini at 50% of price. Like the M5 and Q5. At least more people could afford it.
I just hope they comeout with Q versions of v2, v3, mini at 50% of price. Like the M5 and Q5. At least more people could afford it
this would be the hit! ;-)
If you weren't at the original concert, how do you know whether the amplifier makes the recording sound like "the absolute sound", "exactly as good or as bad as the engineering and mastering allow them to sound", or "sound as beautiful and moving as possible", and therefore which amps to recommend?
jl12, i hear what you are saying and like the idea. you almost have to call what JV is saying as "absolute sound", the "absolute music or musicality" or something like that. as the sound is what it is that may be closer to what the Soulution does. anyway, TAS is Absolute Sound and i don't think absolute musicality will sell well ;) so let's just take JV's point as understood, as i think he will understand your point well.
JV, on another note, would you be so kind to report on the Q5's ability to fill or pressurize a room (dimensions of the Magico's room will be helpful). i would say my one concern with M5 is they don't pressurize (move air, whatever the best way to describe them) in a larger room as well as i would like (that is my slight criticism as i think these are excellent speakers). i am not a purist, so i am willing to place subs with M5 and get that bass pressure, but i am curious to know if the Q5s do this better than the M5s. thanks
Well, Rummy, this is THE question, isn’t it? But before I attempt to answer it, let me point out that even if you WERE at the original concert, you wouldn't know what the microphones heard and what the tape decks recorded. Hell, the mikes are on stage at much closer distances to the instruments than you are and anywhere from ground level to ten-to-twelve feet in the air. Plus, there are often LOTs of them. All of which is a little bit different than listening with two ears from a seat somewhere in the audience.
All you'd know if you were at the concert is what YOU experience and remember hearing from the seat you were sitting in, with the level of attentiveness and the amount of musical experience you brought to the act of listening. That's not quite the same thing as knowing what “the concert REALLY sounded like.” And let me also point out that if you were sitting in the balcony rather than in the orchestra, you wouldn't remember hearing exactly the same thing, either. Hell, if you were sitting ten feet away from where I was sitting in the same row, you wouldn't experience or remember hearing things exactly the same way I heard them.
So...when we talk about the absolute sound, we are not really talking about absolutes. We are not talking about the sound of a specific, oh, violin in the first violin section in a specific hall; we are usually talking about our experience and memories of "violin-ness" in a variety of venues. We are talking about how "real” violins" GENERALLY sound to us in life, based on hearing them in many real-life performances.
Now, we're not all going to agree on every nuance of what constitutes “lifelike” violin tone, but I think we will generally agree about it. There is this as well, which serves as proof: We almost inevitably know when something sounds "real" as opposed to artificial, which is why we are able to say, for instance, "That's a real violinist playing in the café and not a recording,” even if we don’t go into the café to check it out. We don’t often talk about it like this, but “realness” is, I think, in some ways as much a perceived QUALITY of sound as, well, pitch or intensity or duration.
As for a component revealing more of the sound of the engineering and mastering, this is more of a quantitative thing rather than a qualitative one like “realness.” All other things being equal, when you can actually hear the way a recording was recorded and mixed (i.e., dubs, edits, gain-riding, pan-potting, mike-amps clipping) with greater clarity through one piece of gear than through another, I think it is fair to conclude that it is “more transparent to sources,” even though you weren’t present when the recording in question was engineered.
Beauty is, of course, in the ear of the beholder and I’m sure that many people would argue that “realness” and “transparency” are themselves beautiful. But I think, in general, we tend to find music more beautiful sounding when it is richer in timbre and fuller in duration than thinner-sounding, more abbreviated presentations—just as most people find a warm, rich, enveloping hall more conducive to enjoyment than a cool, dry, analytical one. Warmth and richness, so long as they are consistently present, are qualities that are relatively easy to hear and distinguish.
hmmmm new for sake of new? i wonder if you heard some of your favorite amps for from 5 years ago in a new box, with a new name, if you might not find a new favorite amp. ; )
Jon,
I don't want to be smug but TB has been to CES quite a few times and distribution just didn't happen.
Balabo and TB are japanese boutique brands and they shouldn't be readily available everywhere/everyone.
Jon, have you taken your time to listen to R. Harley system?
Does Alon like solid state? JV seems to be pretty consistent in stating that these SS amps are the best he SS amps he has heard with Technical Brain now being the most musical or 'absolute sound' but he has also been consistent in stating that his long time reference ARC set up is equal or more musical. why doesn't Alon use the ARC then? any insight would be interesting
JV, since you will be covering high end speakers could you also report/take pics of the Quads, Martin Logans and associated equipment in those rooms.
Speaker designers would want something more 'complete' to show off the true full range capabilities of their brainchild as opposed to just sounding musical---especially at shows. Where tight, clean, low, articulate bass has been one of Magico's greatest known forte, amps chosen for the purpose would then have to perform just as well here and let all it's strengths shine through---just a thought.
Jon,
Those are good and thoughtful and true words you just wrote. However still in all these makers/artists are add, subtracting and/or shaping the bits from the mics, its important for people to know this. Maybe one day the recordings will give us that life you speak of so eloquently. Jeremy
I have read somewhere in one of the forums here where Technical Brain has had several technical / engineering issues. Another, and quite recently (late last year), from a fellow audiophile where he experienced this unpleasant incident first hand while auditioning these amps at home, first amp to the country, and in presence of the newly appointed local importer. Music just stopped, and had the designer charging abruptly to fix it. Yes, luckily 'the man' was there and had the problem fixed immediately. It might be due to the minimalist design circuits used in eschewing various protection to attain the said performance of his amps. However, imo, at these prices (or any for that matter), problems as these are plain intolerable. Hope they have been well addressed and solved prior to products being widely distributed in the U.S, or anywhere else.
I would just make a pitch for a comparison of the 3 contenders to the Bryston 28B-SST. It's very curious that you would review something that is against your stated policy (by your own admission the TB has no US distributor), and yet fail to compare any of these to the amp that your founder (HP something or other- remember him?) seems to think is also deserving of the highest praise. BTW, I'm glad you reviewed the TB, I just wish you were consistent as there are many global products without US distributors that are probably equally deserving of consideration as SOA gear, particularly loudspeakers (i.e. Gryphon Posidon, Kharma Grand Exquisite, Raido X-5).
well it would seem that the theme of the "overall musical experience" becoming a fresher take on "the absolute sound" is indeed what Jon is talking about. And so I suppose this is a bit of a new kind of testing looking for Magico like accuracy with purposeful restructuring of recordings towards more "generally" accepted sounds from reality.
Seems like Jon is the first reviewer to get to this place. Or at least the first to be able to combine such ingredients as Magico perfection with solid state "technical brain" and/or "tubed" amps, and discuss the merits of tuning away from the source. An interesting new set of possibilities it would seem the Magico speakers allow in the first place. J
found on Stereophile
"Ever since blogging about the Magico V3 loudspeaker a few years back, and then interviewing Magico's Alon Wolf for a Stereophile feature, I've been eager to hear every sonic and technological advance that Alon and his team have come up with. Thus I made my way to the huge Magico suite on the Venetian's 35th floor—whose exquisite lighting and overall aesthetic were on another plane from most of the exhibits below it—where Magico was unveiling the much-anticipated Magico Q5 ($54,000/pair), which has a heroically constructed all-aluminum enclosure.
With Alon playing tracks sourced from Paul Stubblebine's Tape Project through a custom-built, state-of-the-art Matan server and Pacific Microsonics DAC; Japanese-made Technical Brain TBP-Zero monoblocks (price not set, and not yet available in the US); and MIT Oracle MAX cabling (speaker cables $34,500 for an 8' pair, interconnects $10,900 for 1.5 meter pair, and Z-cord III power cables $1100 each), the midrange was to die for. To die for. It truly was the kind of midrange you'd want to accompany you on your way to heaven. Perhaps due to room interactions, however, there was also too much of it, which on classical recordings made for too great a contrast with the top octave. I look forward to hearing the Q5 in another setting and system configuration. And JA tells me that Mikey Fremer is scheduled to review the Q5 for Stereophile"