Tannoyista

The Entreq Tellus II Infinity Line is one of the most intriguing additions to the Tannoyista system I've ever had the pleasure of owning. It has no moving parts, no mains cable and is encased in beautifully finished solid wood.

The Entreq Tellus II Infinity Line grounding box arrived very well packaged. Together with the Tellus II came another box containing the Eartha grounding cables including an RCA and RJ45 grounding cable.

Unboxing and first impressions:

Starting with the Tellus. Firstly, the packaging is excellent. Having something delivered which is made of wood can sometimes be an anxious moment but I was so glad to see that extensive thought had gone into this.

The Tellus is wrapped in bubble wrap inside a protective foam shell inside a protected heavy gauge cardboard box. The first thing we see is a note giving you advice on looking after the unit. In this case, the casework is treated with Beeswax so to keep the wood looking its best only beeswax should be used in the future. One thing you do notice is the lovely smell of beeswax.

On removing the Tellus from its packaging, the first thing you notice is the weight. Weighing in at 15kgs, its solidity instantly feels gratifying.

The packaging of the Eatha cables introduces you to the idea of the Entreq way of thinking for equipment grounding. Each Eatha cable arrives inside its own padded wooden box. Each box lid is screwed shut so a screwdriver is required to open each box, and inside, the cable sits cosily surrounded by foam padding.

This is something which I felt was really interesting. To have to physically open something in this way shows that Entreq is different and certainly not a typical ancillary company for Hi-Fi.

The physical size of the Tellus II Infinity Line is H=12cm x W=43cm x D=31cm. So it's a very good size and averages the footprint of a typical amplifier.

On the underside are three wooden feet with threaded inserts so spikes or other kinds of feet can be used.

The Tellus II Infinity Line is beautifully finished. Made from solid, it wood has a very nice deep grain to which the beeswax helps to bring out. There are no screws to be seen and the construction is very solid. On the front of the Tellus is the logo and model which are laser etched.

Connections:

On the rear of the Tellus are three grounding connection posts. Each post is numbered. No.1 is the central connection. This connection post is silver plate over copper whilst connection posts 2 and 3 are pure copper. Each post is made to a very high quality and is similar to the CARDAS CCRR and CCBP types of binding posts. To top it off, instead of a metal type tightening thumb nut, the thumb nuts on the Tellus are wood turned and have a great shape/feel.

Inside the Tellus, it is split into 3 individual boxed grounding sections so each connection has its own independent internal box for optimal grounding separation.

The Eartha grounding cables:

The Eartha grounding cables have a very nice soft and pliable feel to them. The outer braiding is soft black cotton with white flecks and at each end (where the connectors are secured) the cables are cotton wound as opposed to the typical plastic shrink, bringing a nice artisan feel to them. At one end of the cables is a wooden identity bobbin, laser-etched with the Entreq logo and type. The Eartha cables are very lightweight, flexible and can be routed behind the system very easily.

The connectors are a flat section wire design, silver plated over copper with one end like a traditional spade, the other end, a hook.

The RCA and RJ45 network cables are constructed in much the same way with Silver plated connectors. The body of the RCA connector is also turned wood and fits into the RCA socket very snuggly indeed. The RJ45 plug body is also made of wood.

Grounding using the RCA plug is as simple as connecting it to any spare or unused negative socket on your equipment such as your preamp. The network connector is much the same, although it may be easier to connect it to a bridge if you have no spare network socket at the back of your equipment.

In my case, both the RCA and RJ45 are grounded to the centre connection pole (No.1) on the back of the Tellus whilst the other two connectors (No.2 & No.3) link to the left and right negative loudspeaker posts of my amplifier.

Of course, you can connect more than just one component to any section of the Tellus. And Entreq produces even larger units for bigger and more complex systems. In my case, I have many other components and combinations I'd like to connect to other types of Entreq grounding boxes, including my Studer A80. But that's for another day.

Connecting the Tellus to big Tannoy loudspeakers:

One of the most intriguing aspects about the Tellus is finding out what the effect would be by grounding my 15" Tannoy Monitor Gold loudspeakers inside some Lockwood Major cabinets. Read on!

You can read more about the original Trident Studio Tannoy Lockwood Majors, HERE!

What do Entreq grounding boxes actually do?

If you own a nice system with high-quality components, the chances are they were designed to run a signal as clean as possible. Although even our beloved Hi-Fi can put out its own induced noise, and unknowingly adding more noise from the home to the signal isn't ideal for us.

Home is where the heart is, and it's also where we enjoy our music. My system has its own dedicated mains source although not its own dedicated earth. So in any system hooked up to a home power supply, or even if you have a dedicated supply to your Hi-Fi with or without dedicated earth there will be contaminants adding noise along the signal line at some point. Unknowingly to many things like a Fridge Freezer, Mobile charger, Internet router and/or those horrid switch-mode PSUs can all add noise to the signal. You would be surprised how many switched-mode PSU's there are in homes these days and in your Hi-Fi chain.

What does noise do?

Signal noise kills transients and detail. The more noise you have in your ground signal, the less of the finer areas of your music will be heard. Of course, some people have more noise than others so its difference in degree is, of course, obvious but it's not until you remove the noise that you understand its negative and damaging effects.

The Entreq grounding boxes work with signal ground noise. Although noise from other bits of kit can be only very slight, that doesn't mean it's not having a negative effect on the performance of your entire system. The Entreq range of grounding boxes fixes this as they drain off the noise in the signal path, thus opening up the sound.

The Sound:

The hooking up of the Tellus II Infinity Line couldn't be simpler and once hooked up and everything switched on and heated up it was time to start listening.

My taste in music is quite broad. I range from some classical, 1960s psychedelia, Classic rock, Indie, Dance, Reggie, Trance and Dub. I have a few albums I consider my staple reference sources on vinyl, digital and tape. Out of all my range, I play mostly Indie, Rock and Dance. But when I do listen to music, I really make sure I'm as tuned in as possible. No distractions.

My system reaches its optimal operation after 30 mins or so. So I always make sure it's on or beyond this point before I drop the needle, spin a disc, stream some bits or playing a tape.

So, to kick this off in a gentle manner, some Semprini was on the cards. Whilst it wasn't one of my reference albums, I know it well enough to give me a good understanding and the sound of the Piano is always a great instrument to start with. Semprini plays with so much ease and effortless fluidity. And at this point, everything was pretty much as it ever was except for one very small aspect which became very evident after the third track.

The amount of air and texture of the piano was always prominent but this started to become even deeper, pulling out more of the hanging overtones. It was like taking a few more steps closer to his piano revealing more vibration and mechanical texture.

It was really quite astounding and after the full album, it was very evident that something was certainly continuing to develop.

"There is no dark side of the moon really. Matter of fact, it's all dark"

You've guessed it. The next album was Pink Floyds, The Dark Side of the Moon. I know this album so well and this version was the Abbey Road 1/2 speed remaster by Bernie Grundman which I have to say is an astounding pressing. I also own a 1st generation tape copy of this album which is simply phenomenal.

From the off, the heartbeat and the mechanical soundscapes of the EMS Synthi AKS and VSC-3 synths had a more serious feel to them, more knarl. Following through into the other tracks, the instruments take on a more tangible sound, with fewer artefacts and solidity of realism. Especially the drums and allows an easier flow, building up to the layering of the lyrics.

To have such a low noise floor on this classic album with an increased inky eerie blackness is not only impressive with the Tellus in place but very interesting to boot. It makes you realise how much effort the band made, it brings more insight into them all working together on the desk in real-time. Even that is a performance in itself.

Are you Shpongled?

The next album is one of my most impressive reference albums and this time, I'm going digital.

Firing up the ALLO Revolution DAC it was time to get Shpongled.

Shpongle's Ineffable Mysteries of Shpongleland and Are you Shpongled are the best sounding and most detailed albums I have in my collection. I also have this remastered on vinyl which is amazing. But for this, I'm streaming it from my HDD. The album is a Trance/Goa masterpiece. Like all Shpongle albums, they have effects and sounds that really twist your ears (and your brain). They are such fun albums.

Okay... this was very revealing. With the Allo Revolution DAC also connected to the Tellus, things certainly changed. The detail is now more visually focussed and like my previous experiences with vinyl, the revealing of texture was more apparent. Shpongle really knows how to make sounds wizz around your head and place effects so they distract you from other streams of sound moving in the opposite direction. As I said before, they're so much fun to listen to.

The sheer depth of this album has always been breathtaking. But with the Tellus in position, that depth became another 10ft deeper. The dynamics are more accurate, transients more fluid.

Aphex Twin was my next weapon of choice. Again on digital, the album SYRO started up with a deeply dug-in attitude and just keeps getting better. I've never heard this album sound so good. Like Shpongle, Aphex really knows how to drill the bass line and with exquisite detail bring texture and involvement to your ears. With the Tellus connected, the sound really growls and puts you front and centre into an amazing swirl of sound.

At this point, I wanted to know more about what the Tellus was doing. Because I was so surprised with the sound I wanted to simply make sure if it wasn't just my head playing tricks. So, after the album had finished I took a 30 mins break in silence. I then re-played the second track in full and then paused it. Quickly removing the grounding cables I then re-played the track.

Conclusion... It wasn't my head.

The sound without the Tellus was effectively narrower, less detailed and, to be honest, a little lost sounding. So, I then replayed the album from the beginning. Same again, no change. I then took another step back and replayed Pink Floyd on vinyl and, then something new, this time the 2019 album by The Chemical Brothers, No Geography.

But halfway through the first side, I was starting to get a little bit of cold turkey, it just wasn't the same. So, I quickly connected the Tellus again. Initially, the difference wasn't too dramatic, but after just a few tracks, the difference was clear and the sound, as before, started to bloom with the same solidity and focus.

My understanding thus far was that the Tellus takes just a short while to start to really kick in. But like all systems, an initial 10-30 minute warm-up is always recommended before it really starts to boogie. And with the Tellus II Infinity Line connected, that's enough time for it to bring you its magic and develop.

A few days later, I started again. After a 20 mins warm-up, I dropped the needle on some more vinyl, then, a wider selection on digital. As we all know, sitting down in the zone is the place to be. But even if you're just pottering around the house, it's great when something draws you back into the room. Well, with the Tellus in place, those moments have certainly increased tenfold. It just makes you want to be in the zone all of the time.

I then disconnected just my Tannoys from the grounding box. This also made a notable difference in the sound. Without the Tannoys connected the sound seemed to bring less of that beautiful inkiness to the sound, a less togetherness in presentation and feel. On reconnecting, the stage became more solid and set.

And so, breaking things down in regards to connected components. My Tannoy Monitor Golds absolutely love the Tellus and connecting the source points to the Tellus snaps things into place. Altogether, the connecting/disconnecting of both source and speakers was a very worthwhile insight into what Entreq grounding boxes actually do with sound.

I'm not going to ask how Tellus grounding boxes work, but they do. And in my case, it's the icing on the cake, rather... a rich butter icing with sprinkles and strawberry sauce.

So, here's a breakdown of my experience with the Tellus II Infinity Line grounding box.

Improved clarity and harmonics.

Improved focus and texture.

Improved air and transient details.

Improved sound floor.

Improved smoothness and fluidity.

Conclusion:

Music is Art, and to distil what Entreq has painstakingly achieved here is this. We all crave more insight into our music and trust our systems ability to bring it to us, but it's not until you clear up what you thought wasn't there that you realise your system can reach way beyond its once perceived performance.

My staple advice for anyone upgrading their system is this. Like mains power, it's always the place to start. And, after having the Tellus in my system, I would now tightly recommend an Entreq product of some kind. It's a must, and it makes perfect sense to allow your system (together with your high-end interconnects and speaker cables) to really reveal what it's capable of.

The Entreq Tellus Infinity Line grounding box is so refreshingly simple in its looks and connectivity. For something so natural and easy to use, the increased performance, to be honest, has an intriguing addiction to it. And it makes me wonder how much more there is to get out of my system with Entreq.

To finish:

The Tellus II Infinity Line is very special and has surprised me greatly. It grounds your music into its surroundings, re-aligning and revealing its intended focus, and allowing it to bloom with its intended emotion.

Specifications Tellus II Infinity Line:

Dimentions:

H=12cm

W=43cm

D=31cm

Weight:

15kgs

Connections:

1x Silver

2x Copper

Contact:

https://www.entreq.com/

info@entreq.com

Phone: +46 (0)705 200 500
WhatsApp: +46 (0)705200500

Address:
Rönnetorp 18
265 90 S-Åstorp
Sweden

Pricing:

Entreq Tellus Infinity Line Grounding box - £1800

In 2014, I added a Khozmo volume attenuator to my Croft preamplifier and found it to be one of the most worthwhile upgrades I'd ever done. Fast forward to 2021 and things have certainly developed. Khozmo has developed one of the best passive preamplifiers I've heard.

Khozmo is based in Poland and is owned by Arek Kallas. Back in 2014, his stepped attenuator was a huge step forward in performance and design. It incorporated solid aluminium casework and could be ordered in series or shunt configurations with a much more flexible 48 steps as opposed to a general 24 steps from other manufacturers.

When I had my Khozmo installed inside my Croft preamplifier, the sound instantly changed. The previous potentiometers I used were by TKD and ALPS, and although they were more of a traditional design, they weren't attenuators. I did use a DACT attenuator for a short while but I simply couldn't get on with the low amount of steps and I found it to be a little scratchy at times.

The Khozmo stepped attenuator was different. In my case, I tried both serial and Shunt versions of the attenuators with the Shunt becoming my preferred choice. And using the Charcroft ZFoil shunt resistors made things even more special. But both types performed perfectly and sounded amazing.

For more full review of the Croft preamplifier with the Khozmo stepped attenuator fitted, click HERE

Well, in 2021, it's clear to see that Khozmo has flourished and advanced in design and quality.

Although Khozmo still offers rotary type units for DIY builds, they also build passive preamplifiers as full units. This latest design of their passive preamplifier is not a mechanical rotary type attenuated switch but an electrically operated relay system.

Unboxing the Khozmo preamplifier:

The packaging of the preamplifier is fantastic. Well thought out to avoid damage. Lifting it out from the box, the first thing to notice was the weight and the solidity of the unit. Weighing in at 2.8kgs with a footprint of H:60cm x W:240cm x D:210cm its compact size is perfect for any audiophile rack or even an AV rack.

The other thing which was instantly noticeable was the quality of the build. It's solid and looks really special.

The look of the passive is very elegant indeed with no unsightly facing fixings. Both the front facia and top plate is made from machined 10mm brushed anodised aluminium and finished beautifully. The rotary controls are also aluminium with a knurled grip and are beautifully inset with a very precise fit.

With 64 steps, the action/feel of the controls is also very solid and smooth. The selector feels solid at each selection point too. It's nice to have a good, confident click!

The volume control rotates very smoothly and because the preamplifier uses electronic relays, it has no start/stop points. So, in other words, the relays control the degree of rotation rather than a typical mechanical control dictating it.

Khozmo Shunt Relay Passive Preamplifier with remote

At the centre of the facia is the volume read-out. This is made up of two minimalist inset 3x5 LED dot matrix displays. And at each side are two inset I.R sensors.

At each side of the unit are two 21mm solid wood side cheeks with one side etched with the Khozmo ident. The wood is very smooth, nicely finished and gives it a retro-modern feel.

Turning to the back, the connection panel is also made from the same aluminium. Beautifully machined and laid out to populate the connections.

The Khozmo is available in a choice of input/output connections. The configuration I went for was:

x1 RCA input

x2 XLR inputs

x1 RCA output

1x XLR output

Khozmo Shunt Relay Passive Preamplifier rear connection panel

Khozmo Shunt Relay Passive Preamplifier showing rear connection panel

As you can see. All of the connections are very high quality. With gold plated Neutrik XLR connections and beautiful red copper RCA connections.

The specification can also be bespoke to order. This preamp is in the shunt configuration using Charcroft ZFoil and Takman resistors.

To the bottom right of the connection panel is a mini XLR connector with a threaded fixing ring. This is the power connector that supplies the relays, displays and I.R only. The volume knob isn't motorised because, as mentioned before, the relays dictate the volume and not the control.

Inside the unit:

Inside the Khozmo is very well laid out and professionally built. The selector can be seen here and is of very high quality. The relays are by OMRON, which is an excellent choice. As you can see below, the Takman resistors are flanked at each side of the relays and the Charcroft ZFoils are placed on the back circuit board, closest they can be to the input/outputs.

Khozmo Shunt Relay Passive Preamplifier showing inside

Khozmo Shunt Relay Passive Preamplifier showing ZFoil resistors

Khozmo Shunt Relay Passive Preamplifier showing relay board

Khozmo Shunt Relay Passive Preamplifier showing selector resistors

Now let's look at the remote. The remote control for the Khozmo passive preamplifier is really nice. It's made from solid aluminium and has a lovely weight to it. Its design is perfectly simple and has a very comfortable/tactile feel to it.

No cheap plastic here... Even the markings are etched on a brushed top plate. The control has small clear rubber feet which prevent it from slipping around.

The reach of the I.R is really good too, you can point it well away from the unit and it still operates perfectly. Battery replacement is also made easy by simply removing two screws on the underside of the control. So, again, excellent quality and a well thought out design.

Operation:

On the unit itself, the selector control has a sturdy, confident click which is nice. It feels solid. The volume control is very smooth. The step sound of the relays inside is nice, not too loud, just right and the dot-matrix display rolls through nicely too.

The brightness of the dot-matrix display can be altered accordingly via the remote. But none of the settings are too bright which is great.

Using the remote, The controls are also nice and simple with just Volume +/-, Mute, Display and Stand-by. In all, very slick, tactile and very simple to use.

Khozmo Shunt Relay Passive Preamplifier control knob

The sound:

On analogue inputs, I'll be using my Croft as a phono stage and my Studer A80 sending directly into the Khozmo. On the digital side, my Allo Revolution DAC.

Starting with vinyl first. The Croft is an amazing phono stage and has been upgraded by Glenn Croft to an amazing level. So once everything had warmed up, it was time to drop the needle with the Khozmo passive preamp in the driving seat.

The first needle drop was one of my reference albums, Shpongle's Ineffable Mysteries of Shpongle land. The very first thing I noticed was the air in the presentation, a solid, wide image, no confusing elements and the amount of detail is unreal.

As the album progressed, more and more detail was pronounced which was previously slightly glazed over with other passive preamplifiers.

My next choice was Pink Floyd - Dark Side of the Moon on vinyl. This is the 2018 Bernie Grundman remaster. This fine album is one of the best remasters I've heard. And being a recording from 1973, it really can punch above its weight. Again, the soundscape is flung wide open. Listening to this album always makes you understand how much work went into creating it and it's always nice to hear the rawness of the technology from the time. And this is where the Khozmo really allows you to hear the technological make-up beneath the recording.

Time to go digital:

Connecting up my Allo Revolution DAC, this was my main test... And things were about to bring digital to a new level of excellence. With digital, it can be difficult to hit that none fatiguing sweet spot. But with the ALLO Revolution, this isn't a problem. With a valve-based preamp like my Croft it works perfectly and you would be hard-pressed to know the difference between a digital source and an analogue source. But with some passive preamps, this can be hit and miss. They can tend to be focused more on resolution over the movement, soul and clout of the music.

The Khozmo on the other hand is very different. Feeding through some Trance/Dub/Dance/Funk, namely Halloucigen, The Prodigy, Shpongle, Aphex Twin, Chemical Brothers, Cavern of Anti-Matter and Yussef Kamaal into the Khozmo, the sound envelops and really allows the bass to organically bloom whilst the mids and highs come through in a very natural and balanced way. I love it when you can almost see the effects in music positioned in the sound stage.

When you hear certain effects and dynamics which bring you back into the listening zone, you know something exciting is going on. I have to say, with the Khozmo in place, this definitely happens more frequently.

Moving on to some rock and classic rock. My next choice was Queen and Led Zeppelin on DSD. If you have grown up listening to these bands then you will know the music and their intricacies very well. The DSD versions of these are excellent and the Allo Revolution DAC handles them with ease. Because we are talking about older production qualities, we have to be sympathetic and understand this. We have less sub-bass than dance or trance productions but more analogue distortion aimed at the mids and high frequencies.

So, how will these classic recordings sound with the Khozmo? Well, the detailed elements, presence and drive which can sometimes be lost with other passives are wonderfully clear as they should be. Does it make me want to jump up and shake my booty? Well, yes... damn right it does.

Moving on to some a-typical 44.1khz Redbook streams the resolution doesn't stop there. Although you can clearly hear a drop in spatial artefacts in comparison to DSD, it's still amazingly good.

For a full review of the Allo Revolution DAC, click HERE

Next... Connecting the Khozmo up to the Studer A80 Master Tape machine.

With a duplicated Master tape, the difference between tape and vinyl and digital is like chalk and cheese. You couldn't find a better source for music playback. With a fully calibrated, well-maintained tape machine like the Studer A80, you simply can't get any better for playback or recording. Of course, tape costs much more than vinyl and to buy a 1st generation duplication of a master tape, the prices can be astronomical in comparison.

So... the only way to listen to a master tape is to listen to it on a Studer A80/A800/A820. In my experience, they're the only machines I would trust.

I have a selection of 1st generation master tapes and many recordings of my own. So with the A80 connected to the Khozmo, my first tape was Cream - Wheels of Fire.

And again, this is where the Khozmo came into its own. The sound is precise and superbly balanced. The amount of air and solidity came through superbly, with so much texture and feel. The bass 'flooom' and the kick/snap of Ginger's drums are simply unreal.

For a full review of the Studer A80, click HERE

To have the Khozmo passive preamp in place for vinyl, digital and tape is one of the best additions to the Tannoyista system I've made in a long time. To find such a versatile, bespoke and beautifully made preamp that has all the qualities needed to bring out the best of any source is something very special.

The Khozmo allows the sound to simply pass through like liquid. The sound stage and the presentation of the music space are most certainly very wide and deep with a naturally clearer resolution and no harsh, edgy or fatiguing annoyances.

My previous experience with Passive preamps have always added up to the stage and drive sounding somewhat depleted and whilst the resolution is generally very good, it's not only when you mash both depth and resolution together that you get the full picture of what a true passive should sound like.

To finish:

The Khozmo relay passive preamplifier has to be one of the best looking and sounding passives on the market. With an excellent build quality and the ability to order bespoke configurations, it's a very special piece of kit.

A good passive should pass the signal through as pure as possible with zero noise floor. But this isn't always the case. The Khozmo, on the other hand, has a purity to it that gently sits you down to listen.

The construction is top-notch and its ability to pass the source through in its entirety is quite astonishing. Resolution, clout and, most important of all, soul, are the key elements that make a great passive, and the Khozmo relay passive preamplifier has it all.

Website:

www.khozmo.com

Contact:

Khozmo Acoustic
ul. Strumykowa 6B/58
03-138 Warsaw
POLAND

Tel.: (0048) 604975417
khozmo@khozmo.com

or alternative
arekkallas@gmail.com

Dimensions:

H:60mm

W:240mm

D:210mm

Weight:

2.8kg

Price:

£673

$899

The Studer A80 Master Recorder is one hell of a beast. After previously owning a Studer A807 MKII, Nagra Kudelski, Revox G36 and a Pioneer RT-909, in 2018 I wanted to revisit an old friend which I was familiar with back in the early '90s.

The Studer A80/R is a 96.5kg machine. It was built for precision, performance and reliability. And after 50 years since its initial release, it's the transport and audio capability which is still regarded as one of the best.

Abbey Road, for example, has always used the A80 and in most recent times an A80 was used for transferring 1/4" master tapes to digital for the Miles Showell 1/2 speed Abbey Road/Universal remasters.

"The A80 is the only machine that can be used for all analogue cutting." - Miles Showell

Back in the early 90s, I used to work part-time in a couple of recording Studios in Sheffield, UK. Back then, Studer equipment was pretty standard issue in medium to large studios. Multi-track Studer machines such as the A80, A810 or A820 were pretty commonplace.

Some used machines from Sony, Tascam and Otari but it was the Studer A80 I always remembered being the most friendly and the most 'safe' to media.

These machines were always looked after and in some places, only the studio engineer was privileged to use them. It wasn't until digital started to really dominate that these beautiful machines were assigned to the corners of the studio and used as coat dumps. Some were only wheeled out occasionally to stand on to replace studio light bulbs.

The Studer A80/R Master Tape Recorder - Tannoyista.com

The Studer A80/R Master Tape Recorder Locator and timer function control - Tannoyista.com

Back then, my meagre little job was to set up microphones, reset the desks and sometimes lace-up these big machines. And, yes... make the tea. I never really got to use the amazing machines properly but I remember them being used an awful lot when I first started. They were real workhorses.

The Studer A80/R Master Tape Recorder - Control buttons with LED replacement backlights Tannoyista.com

After some deliberation on which machine I should go for, the A80 was a choice I had to really push the boat out for. It wasn't just that the asking price of these machines had been rising astronomically over the past 5 years but it was also a dive into the unknown (technically wise) because I knew how much these machines were used and abused. One good memory was that I hardly ever remembered them breaking down.

The Studer A80/R Master Tape Recorder with RTW meter, PPM meter and SPL master control- Tannoyista.com

Using the SPL Volume 2 monitor control together with a vintage AVID PPM and the RTW-1206D Plasma PPM units

The monitoring controls consist of the Dyer Audio Systems Mk2 PPM meter, an RTW-1206D Plasma PPM unit and the SPL Volume2 control unit.

The Dyer PPM uses Alice 304 boards, Sifam 44a meters and Sowter transformers. It's one of the best PPM meters I've used.

For more information regarding the SPL Volume 2, you can find out more HERE!

With any reel to reel, a combination of both the idleness and the ravages of time was my initial worry. In some respects, with these machines, a hard-life can be almost as bad as a seldom one. Buying a machine which had not been used for over 20 years can bring its problems.

The A80/R is now relished by studios and audiophiles. Its transport to this day is renowned to be one of the finest in the world. And it's audio electronics, (although very simple in comparison to the A800, 820 or 810) were practically the same as the famed B62 which was one of the first transistorised pro machines.

The Studer A80/R Master Tape Recorder - The legendary transport - New bearings - Tannoyista.com

The legendary A80 transport

I wanted to get a machine with lowish hours, good heads and with some recent service history. I finally found the one I wanted. Dating from 1973/74 it was originally owned by Advision Studios in London and it was mostly used for bouncing to stereo and speech transfer. Advision were taken over in 1993 by the current owner, The Sound Company.

Condition wise, it's in superb cosmetic condition. With any machine like this, you will always find some wear. If the machine has had a hard life as an editing machine you will generally find a lot of splicing scratches around the head area.

This machine is a high-speed machine which has speeds of 15ips and 30ips.

One surprising aspect about this machine was that it had recently been hired out to FOX as a set piece for the award-winning biopic Queen's Bohemian Rhapsody. When I bought it, the machine was still with FOX and it took a while for them to return it. But, return it they did and once it was back in the workshop it had a full service.

In my case, I paid extra for a full electrolytic re-cap on all of the mains power, control logic and audio cards. Make no mistake, there are a LOT of caps to change. I also paid for new bearings, around 30 in all. All mechanical parts were cleaned and lubricated before calibration work was also undertaken.

Brake bands were adjusted and drums cleaned and the Capstan oiled with the correct oil.

The Studer A80/R Master Tape Recorder Inside the machine - New PSU Caps - Tannoyista.com

In the back of the A80/R

The power supply and the audio cards have had further upgrades since I've owned this machine. Top-quality audio grade capacitors such as Elna Simlic 2 and Nichicon FG were installed and the tantalum capacitors have also been sympathetically replaced with top-end components. The Motor-Run caps were also changed.

The oscillator card has also had its relays updated and new CCIR daughter boards have also been installed.

All of the push-button controls have also been overhauled. All contacts have been cleaned and colour coded operation lights installed. Some of the microswitches have also been replaced.

There is no doubt, once set up to a good tape, the sound from this machine is simply astonishing. I chose RTM SM900 tape and I'm really glad I did. Everything people say about this tape is true. It's a wonderful tape.

Here is a full list of works completed so far:

All Audio cards are matched NOS and all electrolytic caps replaced with top quality audio grade Nichicon gold capacitors.
Power cards and all control cards have been re-capped.
Brand new CCIR daughter cards from Pievox.
The regulator card was also updated which makes a huge difference.
Oscillator card was also updated.
The heads are Butterfly on both recording and playback. They were re-lapped before I bought it and they are in excellent condition. Distortion measured by my tech was vanishingly low so they will last for a long, long time yet.
All the relays have been updated with the amazing Pievox relays.
All bearings were replaced with ultra-quiet bearings (the best and correct ABEC versions with the correct lubricant) installed on the transport.
All PSU and larger motor run caps have also been replaced.
A number of microswitches have also been replaced with same spec.
Capstan motor is regularly oiled with the proper oil. Very easy job to do.
NOS control push-buttons covers, location buttons and timer cover have all been installed replacing the old brittle discoloured ones.
Coloured LED lights opposed to the old incandescent types installed, reversible if wanted.
NOS hum shield installed.

The Studer A80/R is a classic jewel. The sound is truly remarkable and it makes you wonder, why on earth did we ever go digital?

Precision is no accident and the A80 does everything right.

Dimensions and weight of the A80/R

Height = (with castors) 840mm (33.1")

Width = 700mm (27.6")

Depth = 600mm (23.6")

Weight = 95.6kg net (209lbs)

Original review published 30/06/2018

My previous turntable was Thorens TD-124 MKII which I was in position for nearly 10 years. It was fully refurbished by Schopper and the sound was sublime. Running with an SPU GT with an SME 3009 it really rocked. Well, things change and I decided I really wanted to finally get my hands on an L-07D.

When one came on the market I snapped it up and after a full service, I'm really glad I did.

The Trio/Kenwood L-07D turntable hs always sparked my interest. I first saw one in a magazine back in the mid 90' and I was always impressed with its design. Not only that but the fact that it was made around the late '70s, mid-'80s.

There is a mystery about this outstanding turntable. Nobody knows for sure who designed it or how much profit Trio made on the production. But the general consensus is that Trio didn't make a penny back on these turntables, in fact, some say they were even in deficit. It was purely a loss leader, a 'Statement flagship'. Even Kenwood today don't know much about the people involved with the design. There are some who say Micro Seiki had major involvement in the design too.

The model name is actually an abbreviation of several different identifications.

L- = 'Laboratory series' which used the very best components.
07 = The design team of 7 engineers
D = The identification of the production of turntables within Trio/Kenwood.

The Construction

Cutaway of TRIO KENWOOD L-07D Turntable - Tannoyista.com

The L-07D is a very heavy turntable, weighing in at 35kg fully assembled. It's high rigidity closed-loop construction uses a selection of specially manufactured laminated materials to eliminate vibration.

The extremely high inertia direct motor drive is kept perfectly in time with a crystal-controlled frequency generator and stays perfect no matter what influence the input mains voltage may have. And any abnormal external breaking of the platter is corrected instantly. So, when the designers set out to build a turntable with a 'zero tolerance' for speed errors, they did exactly that.

In fact, the team re-designed the idea of the turntable full stop.

Cutaway of the TRIO KENWOOD L-07D Turntable - Tannoyista.com

The Plinth is a three-part affair utilising a huge aluminium subframe through which is bolted both the motor (via with 6 massive hex bolts) and the huge tonearm base. This massive machined aluminium casting is cast together into the main plinth section which is made from a concrete resin called ARCB (Anti-Resonance Compression Base).

This ARCB section forms most of the plinth, The last section is a large section of mahogany, seated and integrated into the ARCB base by 34 screws. The ARCB base alone weighs in at 10kg.

The 4 large adjustable feet are constructed of a two-piece machined brass billet.

The Tonearm

The tonearm on this turntable is also astonishing. The 3kg machined and cast unit allows you to adjust the VTA on-the-fly whilst listening with zero tracking errors. Made from a unique mix of resonant cancelling materials it lives up to being a separate machine and a thing of beauty in its own right.

Incorporating ultra hardened roller bearings which have zero play ensures precise tracking. The tonearm tube itself is made from a layered mix of Aluminium, Boron and Carbon. The original headshell is also made from layered Boron and Carbon.

TRIO KENWOOD L-07D Turntable tonearm - Tannoyista.com

The highest quality Litz wiring is used internally and all pins are heavily gold plated. The tonearm cable is also Litz using 168 wires per conductor.

The Anti-Skate mechanism is an unusual yet ingenious mechanism. Using two machined metal end poles with a hair-like thread connecting both together. Each pole has a machined hole in one end. They anchor to the tonearm and the arm base via a small peg. The thread is then wound around a small pully and then around a pivoted adjustable weight arm. Just this mechanism by itself shows the amazing attention to detail the designers went through.

Top view of the TRIO KENWOOD L-07D Turntable - Tannoyista.com

The Platter

The Platter is also something of beauty. It's beautifully machined, no flaws. Constructed from a triple layer composite of anti-resonant materials such as Aluminium and Duralumin. Then the top platter mat is made from a 5mm machined slab of non-magnetic stainless steel.

Including the rotor, the combined rotational weight is 6.8kg. For even more stability, Trio included an inner and outer stabiliser increasing the rotational weight to 8.7kg, and if you were to include the ceramic platter the weight jumps up to 10kg.

Side view of the TRIO KENWOOD L-07D Turntable - Tannoyista.com

The Control Unit / Power Supply

The external power supply/control unit is a hefty bit of kit. Its umbilical cable contains 20 smaller cables and it uses a JAE connector to connect to the turntable. All the settings are adjusted here. When the turntable is serviced this unit also needs to be re-calibrated.

The Sound

A little bit about my system first. My system comprises of a Croft Epoch Elite which is highly modified. The internal phono stage is MM and so I'm using a Lentek SUT which has a great synergy with the Trio. More information on my Croft can be found HERE!

The main amplifier is the Tube Distinctions copper amplifier using KT-150's. Discover more information HERE!

My main speakers are Lockwood Majors with 15" Tannoy monitor gold drivers. More information can be found HERE!

The sound is astonishing. I could just stop there as it sums it all up. The pace and timing was the main aspect I noticed immediately. I had to reconfigure my ears I guess. The bass is voluptuously gratifying and the image is centre stage, rock-solid with everything fitting together perfectly.

The L-07D is a rare wonder. Something that was on sale when I was only 7 years old. Yet it's something that performs and looks like it was made much more recently. It makes me think how much this deck would now cost to design and produce. Okay, there are plenty of advancements in materials and components these days and even the control unit could now be the size of a Raspberry Pi. Probably smaller.

But I love old tech. I love the workmanship, the passion, and the over-engineering which used to go into development and the L-07D is an astonishing example of that.

Front of the TRIO KENWOOD L-07D Turntable - Tannoyista.com

My special thanks to the L-07D website for the technical information. For a much more technical and in-depth insight into the L-07D, please visit www.l-07d.com

Pricing:

Generally, the price for these on the 2nd hand market are rising constantly. If you would like to buy one of these wonderful turntables, be prepared to pay around £3500 - £4500 mark. Since I bought mine, prices have risen sharply and for very good reason.

The reason being is that there isn't anything made with the same quality unless your budget is around £20k and above.

Once you have one, you won't want to let it go. It's a true classic and becoming rarer to find.

The Construction

The Tonearm

The Platter

The Control Unit / Power Supply

The Sound

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