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Reviews (12)
15 Sep, 2016
Very neutral honest amp, but that neutrality may not suit everyone
5 of 6 found this helpful I've been living with Cyrus 1s (and 2s) on and off for 30 years with various other amps in-between, and all I've ever found them to be is completely flat and 'honest' across the audio spectrum with a massive current swing that can whip difficult speakers into submission, despite the amps' comparatively low power. Until a few years ago when I went active, I used a late-issue Cyrus 1 in my home studio because the neutrality helped me to create better mixes. But that neutrality is a shock to many, and it doesn't suit either gutless speakers with no bass nor some of the cheaper harsher digital sources. But partner the amp with care and you'll love it.
12 Feb, 2019
Quite possibly the best studio monitors at this price
3 of 3 found this helpful Great sound, compact, generous selection of connection ports to suit most home studios.
28 Jan, 2010
The Wall (Remastered)
3 of 4 found this helpful I will not further contribute to the thousands of words which have already been written about the content of this album. Wiki and elsewhere will tell you all you ever need to know. What I propose to discuss here is the success, or otherwise, of the remastering process.
The Wall was in the first batch of CD releases in the 1980s when record companies jumped on the lucrative bandwagon of rehashing old material on the new shiny silver discs, in the hope that we’d all go out and re-purchase the same albums we’d already bought on vinyl.
As such it’s not unfair to say that the sound quality of these early rushed jobs was not as good as punters had hoped. There were two reasons for this: firstly most early CDs were made from analog master-tapes which had been tonally mastered to accommodate the limitations of vinyl. Secondly, 1980s analog to digital conversion hardware was relatively primitive. Even accepting the technical limitations of 16 bit 44.1kHz digital audio, 1990s and 21st century technology facilitates a higher fidelity of capture from the analog mastertapes than was possible in the 80s.
So what will you notice with this remaster?
Partly, that depends on the calibre of your replay equipment. I don’t mean to sound snobbish, but if you plan on listening to this on an MP3 player with earbuds, or worse still, with your laptop speakers, I really don’t think you’re going to hear any benefits at all.
For the rest of us (few in number though we may be), what you can expect is quite remarkable: on par with upgrading a single piece of your HiFi equipment.
From the moment Nick Mason's thundering drums spring to life in 'In The Flesh?' you’re left in no doubt that this is a quality remastering job. Gilmour’s guitar rips through the mix, but resists sounding searing or tiring.
Thrills aplenty in the famous title-track: drums and bass pounding like never before, and again the clarity of the lead guitar and vocals is what makes this remastering stand out.
But it’s not all about bang. Suddenly the accoustic guitars on 'Goodbye Blue Sky' sound like they’re in your living room. Even the voice of young Harry Waters at the start of the track seems more lifelike.
'Don’t Leave Me Now' has an ethereal presence which makes the song more sinister than it ever was. I think this is due to the newfound clarity in the mix, layered on a deadly quiet backdrop with no noticeable tape-hiss or noise. Waters’ voice is full of emotion, and for the first time during this song and the preceding 'One Of My Turns', you feel you really are listening to the crazed ravings of a potential psychopath.
I could very easily work my way through the album, track by track, and in the process run out of superlatives. But it’s probably just as effective to say that no track is anything less than enlightening. Each song sounds revived and fresh, like a veil has been removed from the speakers which you didn’t even know was there.
Mixing aficionados will be happy to learn that there is little undue dynamic compression on this album, beyond that already used during its original mastering (the loudness-war had yet to start). The quiet bits sound quiet and the loud bits are appropriately loud.
The big question is should you buy it? That depends what you want to achieve. If you still possess a proper HiFi system and you want to hear this album as good as you are likely to ever hear it short of a HD DVD release, the answer has got to be an emphatic 'yes'