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Notes to You

Updated: Oct 30

Dear Friends,


This month, we continue our survey of the shop’s reference components. As a reminder, nothing in our shop exceeds $30,000 (pre-tariff). To date, we have covered my reference DAC, the Cinnamon Galle, and the analog setup represented by Bergmann Audio. This month, we turn to reference amplification from Grandinote and Thöress.


I happen to prefer integrated amplifiers, and these two have that in common. Both amps also run in Class A—which I prefer—are relatively low power, and are designed by men who not only love music, but speak it. Max Magri, the owner of Grandinote, regularly brings Canadian jazz singer Ann Bissoon to perform live in his demo rooms at shows. I’ve also had long, enjoyable conversations with Reinhard Thöress about the merits of Gabriel Fauré’s music. With that, let’s proceed in alphabetical order.


From Italy, near Milan, Grandinote employs a proprietary circuit they call Magnetosolid. The name combines “ferromagnetic” and “solid,” as these are solid-state components operated in circuits similar to tube amplifiers—including output transformers. The goal is to capture the best qualities of both tubes and solid-state while avoiding their respective weaknesses. The amps are biased in pure Class A with zero feedback. Bandwidth exceeds 300 kHz, and the damping factor is excellent.


On demo is the Essenza integrated amplifier ($25,000). It shares its architecture with their well-known Shinai amplifier, but the Essenza uses output transformers with exotic core materials that extend bandwidth further. Frankly, unless you have “bat ears,” you may not notice a difference—but my impression is that this amp is stunning. One major German audio magazine awarded Grandinote a perfect score of 130—for only the third time in the publication’s history. It is easy to hear why.


Grandinote has also introduced a new amplifier, The Solo. Like the Essenza and Shinai, it runs Class A without global feedback, but thanks to its switching power supply, it delivers 60 WPC—almost double the power. While not the most critical trait, The Solo also offers a more refined aesthetic than the Essenza, which may be one of the least “Italian-looking” Italian audio products ever made!


Thöress is a brand I followed for many years before bringing it in. They were best known for their single-ended 300B and 845 amplifiers, but their latest products take a different approach. The EHT integrated amplifier, now on demo, uses a single voltage-amplifier triode driving a unity-gain, current-sinking MOSFET output buffer in single-ended mode. It is rated at 20 WPC into 6 ohms and has a usefully low output impedance, allowing it to drive a wide variety of loudspeakers. According to Thöress, the EHT principle represents the purest form of single-ended triode power amplifier design.


Thöress is now represented in the U.S. by Fidelity Imports, who also bring in Perlisten, Diptyque, and other excellent lines. These amplifiers are built to order by Reinhard Thöress himself—worth the short wait. Due to tariffs, the price has risen slightly to $14,000, but what you receive is a completely transparent amplifier capable of driving nearly any rational dynamic speaker, hand-crafted with true artistry.


I previously announced that CanEver Audio, from near Venice, would be joining our offerings. These amplifiers also qualify as reference-class. However, since I would be importing them directly without a U.S. distributor, I’ve decided to delay until tariff conditions improve.


Before closing, some exciting turntable news—Michell has introduced two new turntables, their first in roughly 20 years! The legendary Gyro has been updated, which means my demo Gyro SE must go to make room. I am offering my demo Gyro SE with TechnoArm for $3,500, a savings of roughly $3,000. Local pickup is preferred due to the complexity of shipping turntables, but delivery arrangements can be discussed for out-of-area buyers (with a small additional charge). The new Gyro and arm will retail for around $11,000, so this presents a significant opportunity.


If you'd like to learn more about Grandinote or Thöress, here are some excellent articles and reviews.


As always, thank you for the custom of your business.


Happy Listening,


Jim Schaeffer





September 2025


Dear Friends,

As I write this, it is the first day of autumn. The leaves are already starting to change, and there is little doubt in my mind that this is the best time of the year to be at the lake. Few things are better on a crisp fall evening than pouring a nice cognac and playing some vinyl. That was exactly what I did last night. The system: Bergmann Modi turntable, Thor tonearm, Thoress EHT amp, and the Wolf von Langa Ultima speakers—a very nice setup, if I do say so myself!


This month, we continue with a survey of our shop’s reference components. To remind you of the rules we set, there is nothing over $30,000 (pre-tariff) in the shop, and our reference turntable from Bergmann at $14,990 falls well within that range.


I have always been interested in linear tracking turntables. I am not an engineer, but it made sense to me from the start: why not play back a record the way it was cut, in a straight line?

In 1975, when I was first getting into audio, I recall looking at the beautiful B&O linear-tracking tables of the day, but on a second lieutenant’s salary of $7,200, this was simply out of reach. I purchased a nice Philips table instead. When Technics introduced their own linear tracker, the SL-10, I jumped on it and used it with great pleasure until I bought a Sota Sapphire table with an SME 5 arm. As nice as my new setup was, I regretted getting rid of the Technics.


Fast forward to 2021 when I reopened Hi Notes. I listened to many tables before making my selections. There are many great tables out there, to be sure, but my ears kept coming back to what I knew—linear tracking tables—so Bergmann was my easy decision.


There are several reasons linear tracking could be the way to go. I won’t bore you here—you can “Google” this yourself—but some advantages include reduced tracking error, lower distortion, improved imaging and detail, and reduced skating force. Like all things audio, there is no free lunch, and several reviewers complain of “crabbing”  in linear bearing arms. However, this problem is mostly theoretical and, in my experience, is not an issue with Bergmann’s air-bearing products.


Speaking of which, in all Bergmann products, both the platters and arms are air-bearing—everything rides on a cushion of air with no mechanical friction. There is also no need to worry about pump noise. I sit about three feet from the pump of my Bergmann table and cannot hear a thing, even when no music is playing.


Bergmann makes several models of tables and arms. The tables are the Modi (which we have here), the Magne, and the Galder. For arms, they offer the Thor and the Odin. Within these products, there are options such as vacuum hold-down and various color choices. The Modi and Thor combinations are around $14,500; the Magne and Odin range from $15,250 to $18,860; while the top-of-the-line Galder and Odin combination go from $33,300 to $61,900.


I love the Scandinavian design of Bergmann’s products. The plinths are made of an advanced resin—no MDF here. They are easy to set up and maintain. My demo gets almost constant use and has had zero problems. Johnny Bergmann makes each table himself in Denmark, and you can see the pride he takes in each product. I’m happy to count him and his wife as friends and enjoy our visits at various shows.


Bergmann also recently switched distributors in the United States and is now represented by Supreme Acoustic Systems in Las Vegas. This is very exciting, as they offer something unique to dealers. Although I limit the number of lines I represent, I don’t have space to display every product from every line. I have at least one example of each product line so the purchaser can get an idea of the line’s merit, but if someone came in tomorrow wanting to audition, say, the Galder and Odin with vacuum hold-down, I wouldn’t be able to help. However, Supreme would come to my rescue. Qualified potential buyers would be flown to Las Vegas to audition the Galder/Odin at Supreme’s Experience Center. This new distribution model is one I applaud.


To my mind, Bergmann products have it all: linear tracking, air bearings, solid design, ease of setup and care, and are well made—every single component is made in-house at Bergmann’s atelier. If you are in the market for a state-of-the-art table and arm, I hope you will let me know.


Next month, we move on to amplification. Until then, thank you, as always, for the custom of your business.


Kind regards,

Jim Schaeffer


P.S. I hope you read the stunning review of the Wolf von Langa Ultimas in the recent Absolute Sound. These speakers are on demo at Hi Notes.



August 2025


Dear Friends,


Last month, I shared that I’m devoting the next several Notes to You editions to the top components in my shop. I’ve established a pre-tariff limit of $30,000 on these selections. While that’s certainly a lot of money, it excludes many of the “silly-money” components you often see reviewed in the pages of Absolute Sound and Stereophile. Last time, I wrote about my reference speaker, the excellent Wolf von Langa Ultima. This month, we move on to sources.


Most of my critical listening is done digitally—more specifically, via CD (gasp!). There’s no need to debate analog vs. digital here; both have their strengths and drawbacks. It’s all a matter of personal choice—your business, not mine.


The main reason I use CDs is that I’m a classical music fan, and the little silver discs remain that style’s preferred medium by far. I subscribe to the UK’s Gramophone magazine, which reviews hundreds of new classical CD releases each month. CDs are not going away.

Another reason I prefer physical media: streaming pays almost nothing to composers and performers. As an opera company director, I’ve produced five CDs (most of these on the Albany label). I have to laugh when we receive our royalty checks from streaming platforms…pitiful.


The streaming revenue model is pretty standard: roughly 52–55% goes to record labels and distributors (who then pay artists based on their contracts), 13–15% goes to performance rights organizations like ASCAP and BMI, publishers, and the remaining 30–35% is retained by the platform. End of complaining!


Since digital reproduction is so important to me, I wanted to get it right when choosing a reference DAC—and I feel I succeeded with the Cinnamon Galle DAC, priced at about $15,000.


The Galle’s aesthetic is unique, and I happen to think it’s stunning. To quote Cinnamon:

“With industrial design by architect Inês Moreira and designer Miguel Moreira of IM Collective, the Galle DAC's minimalist and timeless chassis represents a departure from the mundane, mass-produced, and impersonal designs prevalent in the industry. Crafted from robust sand-cast aluminum and bronze, the Galle DAC exudes a distinctive texture and finish, achieved with minimal intervention and machining. Each piece is unique, as the small differences in the millenary casting process are not removed or hidden.”


Technically, it’s just as impressive. The Galle uses a quasi non-oversampling architecture with a dual-mono, 27-bit differential resistor ladder (R2R), featuring over 430 precision resistors with an extraordinary 0.01% tolerance. The DAC operates as a self-sufficient voltage source, eliminating the need for a traditional analog output stage and allowing for an incredibly short signal path.


This is no “tweak” product. The designer holds a PhD in engineering, high-performance computing, and fluid mechanics. Of course, I haven't heard every DAC in the world and would never proclaim this or any product to be the best, but I can tell you this: the Galle delivers the kind of digital playback I was looking for—without the glare or hardness found in so many digital products. It doesn’t draw attention to itself. It’s just there, letting you focus on the music and forget about the components.


When you receive your Galle—which is made to order—you’ll also get a beautiful booklet with photos and commentary documenting your specific DAC through the manufacturing process. A nice touch! You also have a choice of woods for the back panel. For my demo model, I chose smoked oak, which offers a beautiful contrast to the cast aluminum chassis. Finally, each unit comes packed in a substantial flight case to ensure safe delivery.


We have the Galle on demo now, but Cinnamon also makes a higher-end version, as well as other digital gear and speakers. For those interested in auditioning something beyond the Galle, we can easily arrange a listening session at the importer’s facility in Nashville—run by Colin King of Gestalt Audio. I should add: Colin is one of the truly good guys in this business.


Please email us to schedule an audition. I suspect you will not be disappointed. Next month: my reference analog source—Bergmann Audio.


Until then, happy listening. Thanks, as always, for the custom of your business.


Kind regards,


Jim Schaeffer





July 2025


Dear Friends,


First things first. We have a new telephone number: 984-335-2939. Please make a note of it. Thank you!


Now to the business at hand. One of my greatest pleasures is putting together a system for a customer for well under $5,000. This weekend, I did just that—a Rekkord turntable from Germany, the Unison Research Unico amp, and some Acoustic Energy speakers. However, I also know that Hi Notes couldn’t exist if I only sold $1,000 turntables or $1,500 speakers.


So, in these next few editions of Notes to You, I’ll be talking about my “reference system” and why I chose the lines I did. When selecting my reference components, I set a pre-tariff limit of $30,000 per component. Unless you’re Elon Musk, that’s serious money—but it’s also not outrageous like some $700,000 speakers or a $276,000 DAC. Since I consider speakers to be the most important component in any system, I’ll start there.

A company I have followed for many years is Wolf von Langa, from Germany. WvL is a pioneer in field coil technology, and you could even say they were the ones who re-popularized field coil drivers. Now, at least five companies make these unique drivers, but most are priced well above von Langa’s offerings.


For those unfamiliar, a field coil driver is a type of loudspeaker that uses an electromagnet—powered by an external source—instead of a permanent magnet to create the magnetic field needed for sound production. Field coil drivers were common before strong permanent magnets became available. Like many older technologies in audio, they can offer real advantages over more conventional designs.


Many listeners say that a field coil driver offers improved clarity, dynamics, and detail due to the stronger, adjustable magnetic fields—you can vary the power to the coil to fine-tune performance. And since the field is controlled, there’s less stray magnetism to interfere with nearby components.


After hearing Wolf von Langa speakers at several audio shows and reading glowing reviews (including The Absolute Sound naming the WvL Son their Speaker of the Year), I decided to take the plunge and become a dealer.


At these price levels, they offer two closely related speakers: the Son (about $22,000) and the Ultima ($33,000). Both share the same cabinet and frequency range, but the Ultima features state-of-the-art components and, most importantly, an exceptionally deep air gap with a wide ventilation channel.


The field coil woofer is paired with a custom EMT tweeter, yielding an impressive frequency range of 25 Hz to 25,000 Hz and an efficiency of 94 dB. Both models are available in a variety of veneers and finishes, including some truly exotic ones at an additional cost. My demo speakers are finished in a stunning veneer called black and white ebony.


There’s also a “cousin” to these two speakers: the Stage, priced at $15,000. It is very similar to the Son and Ultima but uses a traditional magnet rather than a field coil. Both the Son and Stage can be upgraded, but that requires shipping them back to Germany.


Rather than describe every technical detail here, I’ve provided some links below that offer much more information.



At Hi Notes, I currently have the Ultimas on demo, paired with either the Grandinote Essenza or Thoress EHT single-ended amp—both of which work well. I’m also looking forward to trying them with another Class A amp: the CanEVER Olimpico which should arrive late this month from Venice.


Next month, I’ll talk about my top sources: the fine turntables and tonearms from Bergmann Audio in Denmark and the striking Cinnamon Galle DAC


Thanks for reading, and if you’d like to hear the Ultimas—or anything else I offer—just let me know. As my regular customers know, there’s never any pressure to buy.


Until next month,


Happy Listening,


Jim Schaeffer


PS. My shop demo Grandinote Essenza integrated amp is almost 2 1/2 years old and I need to clear it out to make room for another Grandinote model. It retails at 25,000 and I am offering this at $13,000. It has never left the shop, is current in every way, and a lovely sounding amp. You can read the review of its less expensive sibling, the Shanai here: https://www.stereophile.com/content/grandinote-shinai-integrated-amplifier.  https://www.stereophile.com/content/grandinote-shinai-integrated-amplifier-followup-april-2021


I should also note that a German magazine gave the mono version of the Essenza a perfect score. Only two other amps in the magazine's history have achieved this. 

If interested, please let me know as I suspect it will not be here long at that price.



May 2025


Dear Friends,


Something I look forward to each year is the Munich High End Show. This year, 22,000 guests from all over the world attended—a record-setting turnout. I only attend the two trade days, which are crowded enough, and can only imagine what the place looked like once it opened to the public.


In the overwhelming majority of rooms, serious listening was not possible. After all, it is a trade show, and business was being conducted while the music played. Still, you could get a pretty good idea of what was going on. The vast majority of rooms used streaming as a source, followed by turntables. Sadly, I saw only one room using CDs—but the good news is that they were using a Unison Research Due, the same model I demo at my shop.


Between YouTube and other platforms, probably a hundred people have posted about the show. But one trend stands out: they tend to focus on the big brands—Magico, Wilson, D’Agostino, and the like. For me, the real fun lies in seeking out boutique manufacturers—the ones without flashy displays. I don’t need to attend these shows, but who wouldn’t enjoy a tax-deductible trip to Europe? That said, I had two objectives: to find a larger amp and a bookshelf speaker in the $3,000–$4,000 range. I found the amp, but not the speaker.


I’m very pleased to welcome CanEver to our line card. CanEver is perhaps best known in the U.S. for their DACs, one of which became Art Dudley’s personal reference. My initial order is for one of their new amplifiers, the Olimpico (around $18,000). It’s a true Class A, transformer-coupled solid-state amp offering about 50 wpc. My demo unit should arrive toward the end of July, so I’ll have more to say once it’s here. For now, I’m excited to welcome them to the shop.


As for my other lines, here’s what I saw:


  • Bergmann didn’t debut anything new, but they are now offering a matte gray finish across all their turntables—it looked very nice. They shared a room with Italian speaker company Rosso Fiorentino. I’ve heard these speakers sound both good and bad, but fortunately, the sound in Munich was quite good!

  • Cyrus really surprised everyone with their new 80 series. Gone are the half width chassis that they have used since their founding. The new series uses full-width cabinets, just like about everyone else. They will offer a streaming amp in the new series with other products to follow. The target retail is about $6500.

  • Diptyque showcased the MK II version of their reference speaker (around $70,000), which sounded excellent even in a smaller room. Their other models were on static display, and it was refreshing to see a variety of colors beyond the usual black and white. A dark red DP 85 looked especially nice. Speaking of colors, it seems wood veneer on speakers may be a thing of the past—more and more manufacturers are offering bold, vibrant finishes.

  • Ferrum was in the headphone section, and as I don’t use headphones, I didn’t stop by. Besides, their space was packed every time I walked by—likely too crowded to have a conversation even if I’d wanted one!

  • Grandinote had a terrific display, featuring their new streamer/controller Alpha Due, driving their Solo amps into the Mach XL speakers. The sound reaffirmed my admiration for Grandinote and its designer, Massimiliano Magri, who has become a dear friend. They also hosted Canadian jazz singer Anne Bisson, who performed live using Grandinote’s gear—quite the treat.

  • Michell introduced the new Apollo phono stage and Muse power supply ($3,000 for both). It’s not often that this venerable company unveils a new product, so this was a highlight.

  • Sweden’s Moonriver debuted their new 606 Integrated Amplifier. Their room was consistently packed and sounding great with Oephi speakers from Germany. I didn’t get to speak with the designer, but I understand the 606 offers 100 wpc and streaming capability. It should be priced around $10,000.

  • Unison Research showed off their new Black Edition upgrades, available for the S6 ($7,499), Triode 25 ($5,999), and Simply Italy ($4,299). I hope you’ve seen the rave Stereophile review of the Black Edition S6—this is a three-tube-per-channel, single-ended amp: not something you see every day!

  • Wolf von Langa premiered their new monitor, the Serendipity. These speakers pack serious technology—from Purifi woofers and seamless Corian cabinets to series crossovers. For such a small speaker, they delivered impressive dynamics and detail. Pricing is around $11,000, depending on options.


As you may have read, this was the last year for the Munich show. Next year, it moves to Vienna—and I’m excited about that. As much as I enjoy Munich, Vienna is on another level. I know the city fairly well, having produced an opera at the famed Konzerthaus about ten years ago. I urge you to plan now if you’re interested. The public days are May 30–31, 2026.


As always, thank you for your continued support. I hope to see you soon.


Happy Listening,

Jim Schaeffer



April 2025


Dear Friends,


I hope everyone who celebrates had an enjoyable holiday!


To get the bad news out of the way first—Hi Notes is no longer representing the excellent products from Wattson. I had a feeling this might happen when CH Precision acquired them about a year ago. Under the new ownership, dealers are required to carry both lines, and unfortunately, CH Precision just doesn't fit our profile or customer base. It was a great run, though—I probably sold more Wattson DACs than any other product in the store.


On a different note, since returning to this business, I’ve noticed a concerning trend in loudspeakers: they’re getting brighter and brighter, in an attempt to squeeze out every last bit of perceived detail. My theory? In the old days, when you auditioned speakers, the dealer would play the model they wanted to sell just a bit louder than the others. Now, manufacturers know that a brighter speaker often stands out in a showroom—but that same brightness can lead to listener fatigue at home.


This trend led me to search for a highly resolving speaker without the excessive brightness. The result: Gradient speakers from Finland. Founded in 1984 by acoustician Jorma Salmi, Gradient has always focused on a single goal—removing the room from the equation. Salmi passed away in 2018, but he left behind his opus, the 1.4, which was completed by his son Atte, who now runs the company. He’s been a pleasure to work with.


Robert Greene of The Absolute Sound wrote an excellent review of the Gradient 1.4, which also dives into the thinking behind the design: Review Link. I highly recommend a look—it’s the best overview I’ve seen. My experience mirrors his: you hear everything on the recording, but without the harsh peaks. I really like them, especially considering they're not priced into the stratosphere—$5,333 a pair.


Now, the only drawback: the looks. Due to the nature of the design, they don’t resemble any speaker you’ve seen before. But if you can get past that—and I hope you can—they’re well worth a listen. Even if you’re not in the market for speakers, I encourage you to stop by and hear what a recording sounds like when it’s no longer battling your room.


In a week or so, I’ll be heading to Munich to see what’s new in the audio world. I don't need to go every year—no manufacturer is exactly wringing their hands over whether I’ll show up—but who could pass up a tax-deductible trip to Europe? I’ve got many friends in both the audio and opera scenes, and it’s always a pleasure to catch up over a beer or two.


That said, there is business to be done. I’ll be looking for a new DAC line to replace Wattson and also scouting out a stand-mount speaker—perhaps something in the British tradition. If there’s anything you’d like me to check out while I’m there, let me know, and I’ll do my best, time permitting.


As always, thank you for the privilege of your business.


Kind regards,


Jim Schaeffer





March, 2025


Dear Friends,


I hope this finds you well.


To get the bad news out of the way first, several of my distributors are announcing significant price increases due to the tariffs currently in place. The new prices will take effect on April 1. I have yet to see what these new prices will be, as I’ve only received notification that this will take place.


For products that are in stock either at Hi Notes or with the distributors, the old prices will be honored. However, once that stock is depleted, the new prices will be in effect. I can say that this is nothing I am looking forward to, especially since all my lines come from Europe and the UK.


On to some better news! While I have a few pieces in the store that retail above $10,000, most of my products range from about $4,000 to $10,000, which seems to be the sweet spot for me.  I have some five-figure amplifiers (Grandinote and Thoress), a five-figure analog source (Bergmann), and some five-figure speakers like Wolf von Langer and Diptyque, but customers are wanting to know what I recommend in an expensive DAC.


At last year’s Munich show, I came across a line that was new to me, Cinnamon. Along with just a few other high-end brands, they come from Portugal and manufacture DACs, phono stages, and speakers. It is their DAC, the Galle, that was getting all the attention, as people were praising it as unlike any DAC on the market. I made a note of this, and while at the Capital Audio Fest, I took a closer look. I then decided that this was the DAC for Hi Notes. After all, why be like everyone else?


The Galle’s ($14,495) aesthetic is unique and I happen to think it is stunning. To quote from Cinnamon: “With industrial design by architect Inês Moreira and designer Miguel Moreira of IM Collective, the Galle DAC's minimalist and timeless chassis represents a departure from the mundane, mass-produced, and impersonal designs prevalent in the industry. Crafted from robust sand-cast aluminum and bronze, the Galle DAC exudes a distinctive texture and finish, achieved with minimal intervention and machining. Each piece is unique, as the small differences in the millenary casting process are not removed or hidden.”


The DAC consists of a quasi non-oversampling scheme that utilizes a dual-mono, 27-bit differential resistor ladder, featuring over 430 precision resistors with a remarkable 0.01% tolerance. The converter operates as a self-sufficient voltage source, eliminating the need for a traditional analog output stage, which allows an unprecedentedly short signal path.


This is no “tweak” product; the designer has a PhD in engineering, high-performance computing, and fluid mechanics. Let me invite you to come hear this remarkable DAC. As with so many of the products I carry, there are only a few dealers in the US, and I am the only one on the East Coast.


A few other announcements for this month: my wife and I just passed our 40th anniversary, and to celebrate, we are taking a two-week cruise from Miami to Barcelona from March 26 to April 10. While I’ll be answering the mail, I obviously will not be able to schedule an appointment during that time. My other absence will be from May 5 to 18 for the Munich Show and factory tours. Otherwise, I am at your service!


Next month, we will talk about some new speakers and amplifiers coming to Hi Notes. Until then, I wish you all the best.


Kind regards,


Jim Schaeffer



Notes to You, February 2025


Dear Friends,


Those of us living in the Mid-Atlantic are enjoying a respite from the recent bitter cold, which brings me to the topic of tubed electronics—what better way to warm a room than the soft glow of an array of EL-34s?


When I operated the first Hi Notes from 1995 to 1998, Conrad Johnson was my primary electronics brand. I really loved their products, and they were such a great company to work with. Since that time, they have moved upmarket, though they still offer a few products that aren’t outrageously priced. When I opened the current store, C-J would have been a good fit, but I knew their required minimum annual order was beyond what my small store could support. So, I began searching for a few tube lines.


Eventually, I settled on two: Unison Research and English Acoustics. Unfortunately, EA lost their U.S. distributor, so that was the end of that, but Unison Research remains and holds pride of place in my shop. In fact, their products have become my go-to for most demos.

Unison has been around since 1987 and is here to stay.


Sam Tellig put them on the map via Stereophile, frequently writing about them in his monthly column, The Audio Cheapskate. Over the years, Unison Research cycled through several distributors in the U.S., but three years ago, they landed at Fidelity Imports—which is a good thing. They offer both pure tube and hybrid product lines, and you can hear both at Hi Notes.


Their build quality and aesthetics are excellent. The tube models feature solid cherry or walnut front pieces, while the hybrid product faceplates are sand-blasted. The knobs turn smoothly, and the fit and finish rival products costing much, much more. I should also note that the many Unison Research products that have passed through my shop have been trouble-free.


Sonically, there is nothing to complain about. The hybrid amps range from 85 WPC to 150 WPC, which is more than enough to drive any reasonable speaker. The tube amps can be a bit trickier. Most of them are single-ended, but instead of using a triode tube like the 300B, they use pentodes—EL-34s and 6550s—run in Class A ultralinear. If your speaker is rated at, say, 88 dB, you could try the Simply Italy at 12 WPC, but a safer choice might be the S6 at 35 WPC.


My favorite is the Triode 25, the only push-pull amp Unison makes. For my store demos, it’s quite versatile, as I can switch it on-the-fly from 25 WPC in triode mode to 40 WPC in pentode mode. You can also adjust the feedback to your taste. Finally, I should mention that I really enjoy Unison’s hybrid CD players. These use ESS chips, like many DACs today, and they also offer a choice of filters as well as a choice to remove the tube from the output stage — an option I normally take.


You get a lot for your money here. The Unico Nuovo hybrid integrated (95 WPC) is $2,999 and was just named one of the best amps under $5,000 by Absolute Sound. The Triode 25, which I just wrote about, is $4,499, while the CDUno is $2,999. This is certainly not chump change, but compared to most other tube brands, they look like relative bargains. 


As I wrote in last month’s newsletter, new lines are coming to Hi Notes in the next few months. The first to arrive is the Galle ladder DAC from the Portuguese company, Cinnamon. It is en route to me as I write this and should arrive next week. At $14,999, it’s the most expensive DAC I’ve had in the store, but the “underground” is abuzz about it. At my age, I’m too old to get abuzz about much of anything! At any rate, I’ll have more to say about the Galle next month.


Finally, some of you know that I am General and Artistic Director of a new opera company in NYC. We are giving a concert on Feb 28th at The Cell Theater on 23rd St. at 7:30 which will feature a work by my friend David Chesky.  Most of you know of him as a record producer but he is also an excellent composer, getting a lot of play in Europe. If you are in the area, I hope you will attend. Tickets are here: https://tinyurl.com/mrx74fvm


Thanks, as always, for your interest and support. More next month!


Kind regards,


Jim Schaeffer




January, 2025


Dear Friends,


I hope you had a nice holiday season!


This month, I’d like to share some significant changes happening at Hi Notes. As we continue to grow, I’ve realized that we can’t be everything to everyone. For those of you who have visited the lake, you know that I can only display a limited number of products at any given time before the space starts feeling cluttered. For instance, I have room for only four pairs of speakers, and the same limitation applies to other components.

Moving forward, I will focus on showcasing and stocking unique products that few other dealers carry. These are the items that define Hi Notes—they’re my bread and butter and account for most of my sales. As an example, I love the speakers from Q Acoustics; they offer great value, and I’d happily live with any of their models. However, these speakers are widely available, both online and in many stores. Understandably, very few people are going to make the trip to Leasburg, NC, to audition a $1,000 pair of speakers. Because of this, I’ve decided not to keep them on display.


This doesn’t mean I’m dropping these lines entirely—you’ll still be able to order these products from me. However, you won’t be able to audition them beforehand.

Another big change involves large speakers. Shipping and logistics have become a considerable challenge. Again, for those of you that have been here, you know the parking pad is about 50 yards from the front door, not to mention the many steps leading to it. Most large speakers are shipped on pallets via LTL freight. Unfortunately, freight companies won’t even deliver into the subdivision. This means I must hire a truck and two-person crew to meet the freight truck, transfer the speakers, and bring them to the house. The crew then unloads and helps me set them up. The process is repeated in reverse when shipping a pair out. This is not only a logistical headache but also an expensive undertaking.


As a result, I’ll be making some changes to the brands and models I carry. Over the next few weeks, my website will be updated to reflect these adjustments. While I’ll save the discussion about components for next month, I wanted to give you a heads-up about these shifts and the reasoning behind them.


Thank you sincerely for your continued support over the past year. I wish you and your families a happy and prosperous 2025!


Kind regards,


Jim Schaeffer



Notes to You, November 2024


Dear Friends,


I hope this finds everyone well.


It is always a pleasure to attend the Capital Audiofest. The show was massive with over 400 vendors showcasing their gear. Attendance must have been in the thousands.


The show is held at the Rockville Hilton, just outside Washington, D.C. It completely occupies this large hotel, and if you’ve never attended such an event, you might be surprised to learn that all the furniture in the rooms—except for the bed frames—is removed. While the rooms are not large, they are adequate for reasonably sized speakers. However, problems arise when manufacturers bring their largest speakers, which easily overwhelm the rooms, causing boomy bass. I always say the best results can be found in rooms featuring more modestly sized speakers, and there were plenty of those at the show.

My good friend Massimiliano Magri (or Max), who heads Grandinote, was there, and I’ve been playing matchmaker, trying to find him a good distributor. Fidelity Imports was also there in full force, as was Supreme Acoustic Systems, the new distributor of Bergmann turntables. Perhaps you’ve read about them in the most recent Stereophile?


A good number of products that I represent were on display. Starting in alphabetical order:


Bergmann Turntables

Johnnie Bergmann was there, and it was very nice to see him again. We had some great conversations. He seems delighted with his new importer, and I hope this partnership will give his products the visibility in the U.S. that they deserve. The new importer, Hiram Toro of Supreme Audio Systems in Las Vegas has grand ideas concerning a new distribution model in the United States but I will save that story for next month.


Diptyque Audio

Diptyque was present, showcasing their new DP 170 Mk II, which sounded fantastic. Although I don’t represent Audia Flight, I’ve always admired their amps, and there seems to be great synergy between these two lines. The room was consistently packed, making it hard to get a seat. I’m currently selling my demo DP 107s to make room for the new designs, so if anyone is interested, please let me know quickly. I have an out-of-state customer that is interested, but I’d prefer a local sale. Those speakers are heavy!


Grandinote

My friends at Grandinote attended, despite the considerable expense. They showcased their new Mach 8XL speakers ($30,400) with the Solo integrated amp. The sound was impressive, though I felt the speakers were a bit large for the room. The dynamic presence was remarkable. The Solo amp is a new offering, incorporating both a streaming DAC and a phono stage. It has become quite popular, with about fifty units sold already—a significant achievement for a $20,000 amplifier.


Unison Research

Unison Research presented their Black Edition tubed components, which feature improved circuitry and a sleek black finish. Personally, I wish they would integrate the new circuitry into their existing tube amps; I’ve always found their solid wood and brushed aluminum finishes to be beautiful and distinctive. I should mention that The Absolute Sound recently named their hybrid Unico ($1,995) one of the best amps under $5,000. This comes as no surprise to me, as it has been my go-to demo amp for several years.


Wolf von Langa

Wolf von Langa introduced a new speaker, the Serendipity ($10,000). Unlike their other models, this is a stand-mount monitor featuring low-distortion Purifi woofers and a ribbon tweeter. The cabinet, made from composite material, includes two passive radiators on either side. I spent a lot of time in this room, as the Serendipity is one of the best monitors I’ve ever heard. I hope to bring this speaker into the store very soon.


Besides the visit to the show, I am also please to say there will be some new lines coming into the store. I'll have some more about this next month after I finalize the contracts.


As always, thank you for the pleasure of your business.


Kind regards,


Jim Schaeffer





 
 
 

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