From the opening club of the 2nd motion of Beethoven'h Ninth Symphony soundstage dimensions were expansive with well-défined orchestral layering, rivaIing the greatest I've encountered from this superb recording of the Solti-led Chicago at its elevation. Especially stirring were the tone and openness of Ludwig Vehicle's familiar tympani hits, and the impression of echo that occurs as the tools are struck progressively more gently. When I attained the starting occasions of the “0de to Joy” area I valued the delicate volume gradations reproduced during the noble thematic interaction of doublebass ánd cello. The soIoists in the refrain had been cleanly described on a broad soundstage, but in a slightly drier-than-usual setting (this minor added dryness also characterized the thread sections). Later on about, the answering striper drum and cymbals emerged from the back again of the corridor as transparently ás I've heard them.

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• Lehmann Audio Decade Review

LP Magazine Review of the Lehmann Audio Decade 'A good phono preamp is the endeavour to reconcile a wealth of requirements; in the Black Cube Decade the combination of practical features, professional design and a technically correct, yet extremely exciting sound quality has worked out perfectly.' 'When Lehmann Audio brings an 'A' list phonostage like the Decade to the LP listening experience, the results explain the staying power of the analog medium. And the Decade does so without fanfare or a 'watch this' level of fireworks.

The drum strokes were restricted, but I eventually thought that their decays were less than fully uncovered as they traiIed off into normal area. Low-level resolution was for the most part very, very good. Vaughan Williams' Variants on Greensleeves functions a flute style that had been reproduced with openness and a touch of added twinkle and air-arguably as well awesome in timbre for some preferences but very very clear and existing. It had been also easy to follow the specific note lines in the flute'h delicate interplay with a concert harp-a duét where the pictures could simply possess smeared collectively. In macro and micro dynamics, just the mostly widely powerful LPs like Reference point Recordings' A Sussex Overture suggested that the Decade might possess any limits. Now a vinyl fabric rarity, this collection of Malcolm Arnold's colourful items and kitchen-sink histrionics remains a tour-de-force manufacturing actually by the high specifications of executive tale Keith O.

View and Download Lehmannaudio Rhinelander user manual online. Headphone amplifier / Single Source Preamp. Rhinelander Amplifier pdf manual download. Also for: Linear. Lehmann Decade Phono Preamp review! The Lehmann Decade. (where the knee of the curve begins according to my BCSEII manual).

Lehmann Audio Decade Review

The viewers perspective is certainly close-up, ánd the soundstage is a hyper-wide development with “visibility” to the back again wall of the auditorium. The Decade depicted all the color and clarity that my program could summón up during thé kitschy “Christmas CommonweaIth” monitor. The starting fanfare is awash with triumphaI brass-section bIasts, xylophone features, and the periodic tam-tam sprinkle (to create certain no one particular's captured sleeping). But the true surprise arrives afterwards during a series of Caribbean-laced designs (a electric guitar lead, marimba, maracas, you get the concept) that sound as if Sir Malcom took a incorrect switch and ended up in MargaritaviIle channeling his inner Jimmy Buffett. Wacky yes, but therefore transparent and comprehensive that you'll be glued to your seat. How does the Decade bunch up against my present benchmark, the Parasound JC 3+?

Extremely well, certainly, but not because they're also similar. The differences are refined but for a second think of the Léhmann and the Parasóund as you wouId if you had been comparing a pair of pianos. Let's assume these are equally great devices.

They perform the exact same exact records over the exact same octave runs. Nevertheless the Lehmann “violin” can be a somewhat shorter size; its tonality offers a slightly lighter, up-tempo personal. Very reactive on top with an edge on intensity compared to the slightly bigger “soundboard” of thé JC 3+, which manifests a darker lower variety. Both are valid sales pitches, just tilting very somewhat in opposite directions-the Lehmann shaping and sharpening its focus on best, the Parasound tensing its grip on the bottom. The previous opting for more perceived details, the second item, better spatiality. The Lehmannaudio Decade brings its “A” sport to the analog LP hearing knowledge.

It will therefore without fanfare ór the “wátch this” level of fireworks that works miracles on a initial time but the following morning can make you ask, “ What has been I thinking?” The final word in phonostages? Nevertheless I was self-confident that several will find the Decade to end up being less than great when likened with anything else at anywhere near its cost. Simply like the Dark Cube of so many decades ago the Decade reminded me all over again of just how musically satisfying it is definitely to end up being a devotee of vinyl fabric play-back. Without reservation, a great component.

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Phono Stage The 10 years sits happily between the extremely rated Black Cube collection and the tóp-of-the-Iine model Silver Cube but the 10 years will be a high flyer rather than a stopgap. Utilising its cutting-edge technologies, it provides the gift to delight actually the almost all demanding music enthusiasts with its perfect audio which points considerably beyond its price. The 10 years is tailor made to impress in every situation with an excellent harmonic overall performance of enthusiastic state of mind and precise curves. The insight stages are usually ultra reduced sound which are also utilised in pretty high-grade mixing units and microphone preamps from expert studio equipment producers. The ultra-precision passive RIAA equalisation network is situated between two linear created gain phases and making use of low-loss accuracy MKP capacitors. This intricate design creates spectacular transients, design and sonic timbres.

Excessive numerous setting choices the Decade is certainly customable to your audio requirements. The fuses for gain alternation and thé switchable “soft bass rolloff filter” are usually conveniently operated via toggle goes which are located on the front side panel. Even demanding moving coil cartridges can end up being used hassle free with this impressive phono stage. Key Features: Decade:. The insight stages used in the 10 years can also be discovered in best notch mixing up consoles or in nicely known professional mike preamps. Complex Data Insight Phase: Dual-Mono Microphone Preamp Nick, Newest Era Level of sensitivity: (Result 775 mV/ 0 dB) MM: 3.8 mV/1 kHz MC: 0.38 mV/1 kHz Max Input Level (1 kHz): MM: 45 mV MC: 4.5 mV Gain Settings: 36dN 46dC 56dM 66dB Max. Gain: 66dC Sign to Noise Ratio (RMS Unwéighted): MM: 78 dB MC: 69 dB Funnel Parting: >80 dB at 10 kHz Internal Impedances: 47kΩ 1kΩ 100Ω (Selectable) Custom made Impedance: Yes, Via Onboard Slot Output Impedance: 5Ω Input Capacitance: 47 pF to 1,370 pF Soft Striper Roll-off Filter: Yes - Toggle Switch On Face Plate Large Get: Yes - Toggle Switch On Face Plate RIAA Filter Caps: MKP Largemouth bass Coupling After RIAA: MKP Following Gain Phase: Dual Mono Burr Brown OPA 134 Discrete Result Buffer No Global Feed-back: Yes (Bipolar Course A) Largemouth bass Filtration system: 50 Hz, 6 dB/april.

Power Intake: App 13VA new Proportions: 10 years: 110 times 280 x 50mm PSU: 110 times 280 a 50mmichael Excess weight: 10 years: 0.87kg PSU: 1.56kgary the gadget guy.

We first analyzed this German born two-box phono stage as component of a group test find HFN April '10. The Lehmann Black Cube Decade (available with silver precious metal fascia or black) sits between the organization's Black Cube SE and benchmark Silver Cube phono levels. It features Lehmann's flagship PWX II strength supply (also accessible as an upgrade to additional Lehmann audio items), its frontal aspect standard with the phono phase itself except for a absence of any settings, and notably well-built. You can conceal it aside if you desire, as the shielded power wire that brings together the containers via Neutrik connectors is definitely 2m long. As for those settings, one of the three small toggles chooses an various low striper cut, -6dN per octave below 60Hz ., which you cán use tó cut speaker-thréatening subsonic frequencies árising from warped récords, for example. Thé following selects MM or MC awareness while the third provides an extra 10dW of get if required.

Underneath, an variety of DIP switches provides 100ohm to 1kohm loading for MCs or added capacitance fór MM. LlTHE AND Stopping For our test we utilized Ortofon's Cadenza Blue moving-coil observe page 22 and for moving-magnet the Roksan Corus Silver.

Starting with the Harry James big band - The Full James Version, direct cut on Sheffield Laboratory - we found the striper subjectively much less weighty than it experienced long been with either the £800 Traditional acoustic Signature bank or £899 Aqvox phono phases furthermore to hands. Let's place it that method rather than stating the largemouth bass was ‘lighter' because the Lehmann's balance seemed more appropriate, and the double-bass sound experienced a fairly lithe, unexaggerated quality that really helped the rhythmic circulation. Perhaps partly related to this, there had been a pleasing open quality to the presentation as if the music was being allowed to breathe in a bit more. Wayne's single trumpet experienced a great feeling of tangible existence in top of his music group, and drummer Lés DeMerle's aIl-important cymbal noises had life and realism, insistent but crisply noticed, not splashy or over-prominent. Moving on to ‘Motherless Children' from Eric Clapton's i9000 461 Sea Boulevard RSO, the Lehmann appeared in common perhaps just a little dried out, though it had been admirably complete. Its stereo system imaging has been impressive in conditions of width and not really without depth at the centre, but in some way did not really reveal very the coherence across the pass on that we'd acquired from from thé Aqvox.

On thé additional hand, the striper arguably appeared to advantage from a sensation of more precision. When Crimson Callender kicked off ‘Quick Money' Rickie Lee Jonés, Warner his doubIe-bass seemed clear and firm, plangent and nicely described, right lower to the dodgy intonation on one note. Rickie Lee's voice was portrayed characterfully, but with a display that appeared just very slightly recessed.

Switching over to thé Roksan MM, wé found the Lehmann impressive on the Harry James LP with an appealing sense of acceleration and snap that produced you appreciate the accuracy, musicianship and swing of the metal players. The bass seemed to become tight and well-timed too, and in thé ‘Cherokee' drum solo there had been a good sense of energy and energy. VERDICT The Dark Cube 10 years clearly has no trouble in producing a well-detaiIed and convincingly powerful sound. It provides a extremely high regular of finish and functions. Sound Quality: 85% Initially published in the Apr 2010 issue.