My first exposure to the HYPER Sonic X-4 MC cartridge (said MC cartridge retails at US$18,000 or RINGGIT MALAYSIA RM81,000) was at YY SOUND SYSTEMS (MALAYSIA) SDN BHD‘s launch event for the GENESIS ADVANCED TECHNOLOGIES FOXTROT and MINUET loudspeakers. There, the said MC cartridge was installed at the ORTOFON AS-309R tonearm on the TECHDAS AIR FORCE FIVE turntable (TECHDAS AFV), and connected to the CH PRECISION P1 phonostage. I knew most of the audio components in that audio system and recognised their ‘expected’ sound quality (therefore if there was any audible ‘Difference‘ in sound quality it should be from the said MC then?).
I remembered hearing that ‘Difference‘ and, it Peaked my Curiosity for the HYPER Sonic X-4 MC cartridge.
Hence, I enquired about that said MC cartridge,…in the hope to listen to it in my own familiar audio system in my Audio Den.
The Head Honcho at HYPER ANALOGUE PRODUCTION behind the HYPER Sonic X-4 MC cartridge was the same gentleman that launched the GENESIS FOXTROT and MINUET loudspeakers at the abovementioned event,…Mr.Gary Koh.
Gary was glad that I noticed and interested in the HYPER Sonic X-4 MC. He knew that I was into analogue audio for some three decades; with some seven [7] turntables; CLEARAUDIO STATEMENT, TECHDAS AIR FORCE ONE, SPERLING L1, GARRARD 301 (modified by THOMAS SCHICK), TECHNICS SP10, LENCO L-75, LINN LINGO, some eight [8] tonearms from CLEARAUDIO, BREUER, VERTERE, ACOUSTICAL SYSTEMS, SPERLING, THOMAS SCHICK, ORTOFON, VIV LAB, and some fourteen [14] MC cartridges from KOETSU, TRIANGLEART, ORTOFON, MIYAJIMA, MYSONIC LAB, ZYX, DS AUDIO, SOUNDSMITH STRAINGAUGE, JAN ALLAERTS (and counting),…
and that his MC must have hit a ‘Right Note‘ with me.
He shared to me of his high expectation in every audio component in the entire chain of an audio system. He would pay top dollar for any audio component if it satisfied his high expectation. I knew Gary for sometimes and that…
Very Few audio components actually Satisfied him.
He did mentioned that he has collected a number of MC cartridges and among them, his favorite was the discontinued TRANSFIGURATION Proteus D. Therefore, (unable to get his favorite MC cartridge) he grouped together a few like minded and experienced partners to form HYPER ANALOGUE PRODUCTION (Gary joked that their cumulative…
shared experience and knowledge were over 150 years,
…even in the music reproduction including recording and music making),…and engaged the renowned SWISS Cartridge Maker (of EMT) to build the MC cartridge that satisfied…
their High Expectation of Extreme Performance (even) at costly Extreme Specification,…they believed EVERYTHING matters!
He humbly continued that the final design of the HYPER Sonic X-4 MC was not solely his. But included the cumulative set of Ideas, Ideals and Desires from all the partners at HYPER ANALOGUE PRODUCTION. Next, I asked why named HYPER‘s first MC cartridge as Sonic X-4(?),…Gary jokingly replied that the name ‘Sonic‘ was from his beloved SEGA game character, Sonic the Hedgehog (an anthropomorphic blue hedgehog with Super-Speed, who battles the evil Doctor Eggman, a mad scientist, and his robot army), and the X-4 denoted the fourth [4th] prototype/ iteration that was decided to be produced, with the followings;
Key Features and Technologies:
- Multi-Layer Core: This proprietary design is a core component of the cartridge’s performance, contributing to its detailed sound.
- New Magnetic Alloy: The cartridge utilizes a stronger magnetic alloy, which is shaped to focus magnetic flux more effectively, less coil-turns could be used for a given electrical output. (only 0.2mV output with 4 ohm impedance)
- Diamond Cantilever with Micro-Ridge Stylus: This combination is designed for accurate tracking and vibration transmission. This gives the Sonic X4 the ability to trace every minute detail of the grooves cut in the lacquer by the sharp cutter of the lathe.
- Titanium Body: The cartridge body is made of titanium, with a sandblasted and hardened surface for durability.
- Rigid Structure: The generator is held in place by a titanium superstructure, and the body is made of hardened titanium.
- Tungsten Inserts: Three [3] tungsten inserts are strategically placed within the body to improve stability and resonance damping.
- High-End Construction: The cartridge is built to exacting specifications, with attention to detail in every aspect of its design and manufacturing…EVERYTHING matters!
Gary did reveal the breakdown in costing and projection of required sales in order to break even for the said MC cartridge, which I would sum it as…
an Endeavor of Pure Passion and NOT Common Business.
FRUIT OF PASSION.
I preferred a used HYPER Sonic X-4 MC cartridge for review to avoid long break in period and that which I received. It was installed on my VERTERE REFERENCE tonearm (designed by Mr.Touraj Moghaddam who was an ol’ acquaintance of Gary), set on the TECHDAS AIR FORCE ONE turntable, then connected to the FM ACOUSTICS 223 Phono Master amplifier, FM ACOUSTICS 268C preamplifier, VITUS AUDIO MASTERPIECE MP-M201AF mono amplifiers, MAGICO M2 loudspeakers, and connected with cables by SKOGRAND CABLES SILVERLINE, STRAVINSKY, BEETHOVEN, etc. In addition, the audio system enjoyed dedicated power supply and was conditioned with FRANK ACOUSTICS POWERBANKs & ULTRABANKs, SHUNYATA DENALI, AUDIOQUEST NIAGARA 7000, and grounded with multiple active TELOS Grounding Noise Reducer (GNR) and multiple passive ENTREQs,…and employed other accessories throughout. For me, I set up my or any audio system was to…
primarily Connect me to the Music,
…and that any ‘added’ audio component in the audio system must at least complied to the same objective.
The Better the add on audio component would be the one that connected me Closer to the Music.
What better to test out the HYPER Sonic X-4 MC then with Ms.Lyn Stanley‘s final album, ‘TRIBUTE TO 1924‘, which was superbly recorded and, in 45 rpm One-Step Pressing. I have already heard this vinyl record (too) numerous times and found her talent to have captured the Vibe, Mood and Style of the songs of that vintage era, Beautifully. From the linear notes found in the album indicated that she has spared no expense to group together some very talented and experienced musicians; “pianist Mike Garson, bassist Chuck Berghofer, guitarist John Chiodini, drummer Aaron Serfaty that made up the rhythm section with percussionist Luis Conte, tenor saxophonist Rickey Woodward, and harmonicist Hendrik Meurkens“. She have them recorded at the specialised recording studio under the renowned recording engineer, Mr.Allen Sides, and mastered by one of the best mastering engineers, Mr.Bernie Grundman (Gary loves his work too).
Here, I was impressed with the end result which was Musically Satisfying, Tonally Balanced, Timbraly Natural and Stage Accurate. In addition, Ms.Stanley‘s vocalisation was recorded Balanced against the accompanied musicians.
Having known Ms.Lyn Stanley, talked to her, heard her voice and ‘LIVE‘ performance, I found the HYPER Sonic X-4 MC has presented her recorded voice Honestly, Accurately, Naturally and Believably,…
wholly reminiscent an Unplugged Performance.
As indicated above, the said MC cartridge was able to Distinctly present each accompanied musician/ instrument,…
in their respective Position and Space,…with the lead Artist in the Middle (as intended by Allen Sides).
Thus, the HYPER Sonic X-4 MC was able to present the Soundstage with Believability in Placement (Staging of all the Artists) and at an almost Convincing Scale of 1:1 in Height, Width and Depth.
I would add that the Soundscape was filled and extended with Air and that…
provided an Illusional Scape Beyond the Dimension of my Audio Den (18′W x 28′L x 8′H).
I found the total aural presentation to be Proximate,…for me, it was an auditory experience that…
felt Close, Intimate, Immediate, Immersive and ultimately Connected me to the Music/ Perfomance,
…as if I was with the artists (Ms.Stanley and the accompanied musicians) in the recording session itself.
I remembered that many moons ago, I was deeply impressed and touched by the recording of the song ”Till They Take My Heart Away” by Ms.Claire Marlo. Relistened back to that song with the reissued 45 rpm One-Step Pressing remastered by Mr.Bernie Grundman (HYPER ANALOGUE PRODUCTIONS BMS-011-45), through the HYPER Sonic X-4 MC was for me,
more Emotionally Impactful.
Here, there were more audible emotional contents and minute details such as…
the Nuances at her Breath, Pause, Tempo, Style, Energy, Technique, Signature, and Epiphanies,
…in her expression of her feelings, sentiments and meaning of the lyrics.
To satisfy my curiosity, I did play and compare the same album from Sheffield Lab (original 33 rpm, TLP-29) which was recorded ‘Live to Two-Track Analog‘ (that touched my audiophile soul then). Here, through the said MC cartridge, I found the presentation to be more Upfront, Direct, Intimate and Close (almost to a Tangible touch). Nevertheless, I also found the vocal to be ‘slightly‘ Raw, Energetic and with ‘obvious‘ Sibilances.
The original Sheffield Lab issue was considered by most audiophile to be of High Quality and a Classic, did sound more Hurried, while the 45rpm HYPER ANALOGUE PRODUCTIONS‘ reissued sounded more Relaxed, Opened and Spaced. The audible differences between both issues of vinyl records maybe due to their respective specifications and mastering,…
also indicative of the HYPER Sonic X-4 MC‘s Transparency and, testament of its Importance as the First Transducer.
I have both the original standard 33 rpm and the reissued 45 rpm UHQLP One Step of Ms.Zhai Cong‘s (the ‘Pipa Goddess‘) ‘Sound of China-Dance in the Moon‘ (Pipa album) (Modern Audio Ltd. & Fung Hang Record Ltd. MCD3101LP45) and relistened to them through the HYPER Sonic X-4 MC, I found both of them to be of High Audiophile Quality, Enlightening and Entertaining. Thus, they were much sought after especially among Asian audiophile. Comparatively, I found my preference leaned toward the 45 rpm UHQLP One Step issue.
Through the said MC cartridge (which was the better First Transducer compared to all previous MC cartridges that I have heard thus far) at the 45 rpm UHQLP One Step issue, I was able to…
better appreciate each instrument’s respective Distinctness, Dimensions, Delineation, Palpability, Presence, Weight, and Spaced (from one another).
Not to mention that it also vividly highlighted Ms.Zhai Cong‘s artistry at the Pipa (or ‘Chinese Lute’, a traditional Chinese musical instrument belonging to the plucked category of instruments),…
her Quick and Agile (/Sonic) control at the strings of the instrument (then, I appreciated and knew why the said MC cartridge was called ‘SONIC‘).
As initially stated, having presented each instrument in its respective Space,…
I too could easily appreciate Each Note enamated from each instrument;
…Distincted, Bloomed to its Fullness, extended to its intended Bandwidth,…and with respective Dynamic(/ Energy/ Power) Contrast,…
from a Full Dimension Soundstage and Spacious Soundscape.
As a result, the whole presentation was more Extended (Vertically) at both Extremes of the Frequencies…(lower low and higher high),…more Dynamic, Power and Energetic (even at times, dynamically explosive!),…in other words,…
more Direct/ LIVE!,…more Involving!, Engaging! and Exciting!
There was a story to the above album. I used to play it to determine if an analogue component was good enough to own. I remembered using that track ‘One Night in Bangkok‘ to seal the deal with Mr.Moghaddam for the VERTERE Reference tonearm (after 28 x play…not that it was necessary but FUN!), and compared setup of a number of MC cartridges with a number of audio designers (Yes, I think I played and teased many with that record…Oh, too often).
Here, hearing that album through the HYPER Sonic X-4 MC, I found the aural presentation to be surprisingly Fuller, Heavier, much more Engaging and Satisfying.
As expected, each note was not only presented with the above attributes (Distinction, Bloom, Bandwidth, Dynamic Contrast),…
but with more layers of Resolution, [3x] Dimensions and Tail End (its Finality) to it.
(As if) the Bass notes were presented more Articulately (all the way to their lowest depth,…a sensation of lower than expected), Heavier in Volume, Weight, Slam, Bang,…
and yet securely Anchored throughout.
Hence, I found the aural presentation tended to have…
a ‘Stronger Hook‘ that (never let go and) Engaged me throughout.
Here, at my heavily played record, I did not realise till with the HYPER Sonic X-4 MC that the Soundstage could be so Deep, Wide and High that represented the huge recording venue, and…
the Soundscape being so Enveloping, enhanced by the Atmosphere and Air of the recording venue that extended over my Audio Den.
The instruments were projected In Scale with the Soundstage, Specificity within the designated Group, with appropriate Weight and Presence. The whole orchestra was clearly presented,… allowing each group of instruments to Play, Shine and Bloom accordingly. Therefore, I could easily appreciate…
each group of instruments’ Contribution to and, Flow of the entire orchestral presentation.
When the SLAM and BANG came from the DRUMS, the said MC cartridge provened its transparency to their whole and actual(?) Volume, Weight, Dynamic, Power and Energy,…
and even (pointed to), its Source and Direction.
In short, I would argue that it brought about the…
‘Whole and New Meaning‘ to Presence, Weight and Granduer,…
I was that Close and Connected to an Orchestral Performance!
Here, Gary did share that playing through the HYPER Sonic X-4 MC, the above album’s Reference Lacquer cut by Bernie Grundman, and comparing to the 30 IPS MASTER R2R Tape that he used to cut that Lacquer, that the result, as exclaimed by someone (possibly a reviewer?),…
“This is as Good as It Gets!“.
Therefore after learning that, I have to listen to that album which is a double 45 rpm vinyl record. I may not get to compare the vinyl record to the R2R Tape, but I was already very impressed with that recording and its playback through the said MC cartridge,…other than all the above mentioned attributes, I was particularly impressed with the presentation of both micro and macro dynamic/ energy, air, power and weight…
that reminiscented ‘Being there – LIVE!’
Again, I was that Close and Connected to a Performance, the Big Band!
R2R TAPE VS. VINYL RECORD.
In the matter of comparing the playback of vinyl record with R2R Tape, TK Han, the owner of REFERENCE AUDIO SINGAPORE and YY SOUND SYSTEMS (MALAYSIA) SDN BHD did loan me his R2R tapes in 15 IPS, ΒΌ-inch 2-Track for comparison with their respective vinyl records that I happened to own;-
For comparison, I played the above R2R Tapes through the BALLFINGER M002P player (only), and found the…
HYPER Sonic X-4 MC was able to present (almost) similar Resolution in Details; –
from the naturalness and nuances in vocalisation, to the timbre, dimension, scale and energy in instrumentation, to the staging and spacing of musicians in [3x] dimensional soundstage and to the air movement and spaciouness of a soundscape.
At times, I did prefer the Tonality, Agility and Articulation…
in the presentation of the vocalisation of the lead artist (that sounded sweeter) and of the lower note from the instrument (that sounded rounder)…
through the HYPER Sonic X-4 MC.
Whereas, the playback of the R2R Tapes sounded (only) slightly forward, rougher at the edges and forceful.
Gary did explained that the vinyl record and R2R Tape of any given album was not always mastered the same in specification/ bandwidth (unless specified so). According to Gary, “the Chen Jia ‘We Meet Again, Teresa’ R2R Tape was direct from the Master. The One Step vinyl record was (1) Master to (2) Lacquer to (3) Stamper to (4) Album. So, it is a very good comparison (at best). Depending on the analogue LP system, the Lacquer is BETTER than the R2R Tape. So far, I only found Studer C37 that made the R2R Tape sound better than the Lacquer“.
Here, eventhough it was not an apple to apple comparison, but I was satisfied and convinced with the HYPER Sonic X-4 MC‘s sound quality which at times,…
sounded ‘Preferrably Better‘ or at least, sounded Comparable to the R2R Tapes (at hand).
“THIS IS AS GOOD AS IT GETS,…
I found the HYPER Sonic X-4 MC was without much identifiable color in sound characteristic,…if pushed, I would characterise its color to be white.
The HYPER Sonic X-4 MC was like a White Paper to be drawn with the Colors of the Music played.
At the level of performance (in sound quality,…and not in coloration) of the HYPER Sonic X-4 MC, I doubt anyone could find a better MC off memory and experience,…
except through direct AB comparison in the same System, Space and Time.
It was an MC that able to dig deeper into the groove of any vinyl record to…
extract and present even more Nuances and Subtleties in the recorded details,
…present the intended full(er) Bandwidth and (heavier) Weight of each recorded note (depend on the connected final transducers, etc),…the true Scale, Specificity and Space of Soundstage,…the Immersive Soundscape,…the Emotion, the Volume, the Shine, the Bloom, the Dynamic, the Palpability, the Power, the Energy, the Slam, the Bang, the Presence, the Granduer, the Engagement (/ the Hook/ the Excitement), the Agility(Sonic)/ Direct/ LIVE!,…and,
Ultimately connected me Closer to the Actual Music/ Performance than any MC that I have owned and heard in my or other systems thus far!
…AND I AGREED WHOLEHEARTEDLY“
Therefore, the HYPER Sonic X-4 MC has been awarded ‘TOP PICKS‘ in www.analoguefellowship.com,…