In the early nineties, the designer of REDGUM amplifiers, Ian Robinson, set out to make an amplifier that was worth selling on two counts - one that, above all, made you feel that you were “there”, but also one that was reliable, indestructible, and reasonably priced. With thirty years experience in the Hi-Fi industry in both retail and as Authorized Service Agent for many major brands, Ian had a very clear picture of what worked with a product, and what did not. When this was combined with his love of a truly Australian wood, REDGUM amplifiers was the result. An on/off key switch completed this distinctively individual product. Many other features are incorporated into the electronics, with the resultant sound of having “live musicians at the end of the room” (personal communication, Rich Weiner, reviewer, Bound For Sound).Why the name "REDGUM"?
If any one wood conjures up the essence of Australia, it is red gum. The grandeur, complexity and variety of colour and texture of this wood is a reflection of the quality of the sound from this amplifier - alive and durable. Each REDGUM front panel is made from one solid piece of unfilled natural timber, selected and finished to maximize the character of its grain. Red gum has played a role from the earliest times of our country’s history - it is a part of the national psyche. This wood creates its own atmosphere and emotions - a REDGUM does the same.
indexWhere are REDGUM Audio products made?
All REDGUM Audio Products are designed and made in Australia by the only Australian manufacturer of a full Hi-Fi range. These days, it takes people by surprise that a full range of Hi-Fi products is still designed and made (from the ground up!) by one company here in Australia. This is because, regrettably, some HiFi brands today tell you very clearly on their packaging only half the story. Sometimes with the help of national flags, the buyer is informed of where the product was designed or engineered. Only the canny buyer takes the time to hunt down the actual reference to where the product was made - without fail, not in the country where it was so proudly designed. REDGUM really is made in the suburbs of Melbourne!
indexAre REDGUM products compatible with other brands of equipment?
There are no compatibility problems when using REDGUM products with those of other manufacturers, other than those normally requiring consideration, such as power requirements, impedances, etc., One point worth mentioning however, is that REDGUM amplifiers are power rated very conservatively, and this should be born in mind when choosing appropriate speakers. For example our 120 watt amplifier peaks at 285 Watts RMS!! - more than double its rated output!
indexAre REDGUM products available with front panels other than red gum wood ?
Although we are passionate about our distinctive red gum wood fascia panels, we realize that in some environments they may not harmonize aesthetically, and so we will fit panels of other materials to meet our requirements. Some popular choices have been marble, aluminium, or white or black hi-gloss finishes.
indexCan I order a REDGUM amplifier without a key switch or labels?
"Shocked" as we are that you would want a REDGUM amplifier without its distinctive trademark, the answer is ..."yes!", we can supply our products with conventional push button or toggle power switches. This is a request that we receive from time to time, so just mention when ordering.
indexAre REDGUM products available with remote control?
No, not at present, but an I.R. remote control is in the pipeline. A motorised, conductive plastic control has been the 'holding point', but we are investigating non-intrusive all electronic solutions also. The plan is that they will be easily retro-fittable, hopefully simply enough to do in the field.
indexAre REDGUM Audio products suitable for use in other countries?
REDGUM products have passed the C-Tick test, the Australian standard for RF emission - a plus for export markets. REDGUM Audio is delighted to be able to assure its customers that REDGUM amplifiers pass the C-Tick test, not just individually, but when combined with the REDGUM DAC/CD Player. (As REDGUM speakers are passive electrically, they do not require testing.) The C-Tick standard is based on other international standards and is an important factor when marketing a product for export. REDGUM Audio is presently active in the export markets of the US, the UK and Ireland, Hong Kong and China, Singapore and Malaysia. Other markets will follow soon. The need for the C-Tick test is because of the world’s reliance on mobile communications and devices using microprocessors. A serious consequence of this is the interference to radio communications, an ever-increasing problem as the use of electrical and electronic products is so widespread. This interference is caused by the lack of compatibility between products and the electromagnetic environment. The enforcement of radiofrequency (RF) emission standards is intended to reduce unintended emission levels. Just as the European Union has set its own standard with the CE Mark, so Australia requires all electronic and electrical products sold from 1 Jan 1999 to bear the C-Tick Mark. By law, stringent tests are carried out only by accredited testing houses. REDGUM passed these with flying colours!
indexThe REDGUM CD player is truly unique!
REDGUM DAC/CD Player, the world’s first user-serviceable CD Player versatile as a CD player or DAC is designed and made in Australia using Burr Brown components. REDGUM Audio has produced the world’s first Digital-Analogue Convertor that has the versatility of enhancing an existing system or being upgraded to a CD Player. This is a unique product in Hi-Fi. When the most usual repair problem arises (laser assembly malfunction), customers can immediately remedy it themselves without needing any expertise or paying labour costs. To meet every customers needs, the REDGUM unit can be purchased as a stand-alone DAC, or with an optional CD Rom Drive. Customers pay only for what they want to use now, with the benefit of all future options. The most frequent point of failure in a hi-fi system these days is the CD player. The most frequent point of failure in the CD is the laser assembly. Who is not familar now with the solution that “it is cheaper to get a new one”? If the customer is satisfied with the sound quality of a cheap replacement CD player when the laser “dies”, then honour is satisfied. However, Hi-Fi enthusiasts demand more of their hand-picked product, usually chosen at great expense. They rightly expect a longer life for such a price. REDGUM has a solution to short-lived CD players- discard only what needs to be discarded, keep what is of value. In a REDGUM DAC/CD the electronics are valuable. The Rolls Royce of DA chips - Burr-Brown Integrated Circuits - are used. Combined with this is the high standard of the DAC design by Jon De Sensi of Music Labs fame. As to what should be discarded, Ian Robinson’s logic was simple. If the customer could simply replace the faulty part when necessary, the sound quality of the system could be maintained using a CD Rom Drive in the place of a conventional CD laser assembly. By undoing only a few screws, the customer could immediately “repair” a faulty laser, or upgrade to a preferred drive. No labour costs - just the the continued enjoyment of high quality sonics.
indexBYO Remote Control accepted by a REDGUM DAC
Should the style of REDGUM's "less than conventional mass-market appeal" CD player stretch your comfort zone a little too far ...
… a simple Solution to work around the lack of a remote and readout in the REDGUM CD Player is … B.Y.O. Remote" i.e. create your own quality CD Player by the addition of a REDGUM DAC only!
To achieve this, we suggest connecting any inexpensive DVD player, or your current “under-performing” CD player, (either being used simply to provide the transport) to the DAC version of a REDGUM CD player. In this way, you can dramatically improve the sound quality of the DVD or CD player up to Hi-Fi levels whilst enjoying the comfort of the "bells and whistles" from the DVD or CD player via its remote. Most basic DVD players these days have the necessary Digital Out to allow this connection.
You may be reeling from the idea of "matching" a cheap DVD player with a Hi-Fi REDGUM DAC!? This combination is, however, a great match as the quality of the DVD player becomes irrelevant because of what happens to the signal after it leaves your chosen player.
Once in the REDGUM DAC, the digital stream is fully reclocked and reshaped in a separate, additional chip. This additional chip also provides the buffer for the storage of the data stream in real time, thus removing the problem of jitter. Thus, there is a clear delineation of the digital signal from the "brand X" DVD player changing to the digital signal in the REDGUM DAC.Just as REDGUM uses only the Rolls Royce of ICs from Burr Brown, having such an extra chip is definitely not the norm! This difference then makes sense of comments (i.e. shows the contrast) re the transport being not/important. In this way, if the quality of the transport is important (i.e. non-REDGUM, no extra chip), then and only then does having a dedicated CD player makes sense.
Doing the sums on this combination also gives a positive - by using a DAC, what you don't pay for the CD ROM drive usually covers the cost of an inexpensive DVD player acting as the "replacement transport". When you move on to your next DVD player, the DAC remains as part of the system providing you with long-term sound quality along with the flexibility to keep up with the latest development in DVD players.
The original concept of the REDGUM CD Player was formed in 1997 and based on a twofold principle. Firstly, it was aimed at the audiophile for whom sound quality had to be outstanding, and at the same time who could live without all the extra "conveniences" that a readout provides ..... especially because of the convenience provided by the second design principle. Namely, as the transport is the most likely section to fail of any CD player, that section in a REDGUM is made to be "instantly replaceable / serviceable".
This is possible as the drive in a REDGUM is quickly and safely accessible by a basic technician so that when it fails, a replacement drive can be sourced from any computer shop without loss of time and immediately inserted at minimal cost. In this way, the universal weakest link in conventional CD player design disappears as a long-term liability for the REDGUM customer. Within the scope of these terms, the product has definitely held its own with customers. CDROM drives can come and go, but their REDGUM DAC is theirs for life.
At first glance, the 'ergonomics' of a CDROM drive do make it just a little more difficult where many and rapid changes are required, such as demonstrating in a retail situation. However, we consistently find that the RGCD models are welcomed by customers who just listen to discs in their entirety (as is generally the case with audiophiles). From its first design concept, it was never intended to be a mainstream product.
The initial RGCD models used ROM drives that offered remote control. However, due to quality control issues totally out of REDGUM's hands, REDGUM replaced that drive brand in 2002 with the BenQ CD ROM drive, which has proved itself bullet-proof ever since. Regrettably, this drive and others currently on the market are only available without a remote facility.
Seemingly quirky as the REDGUM CD Player design is, its purpose is re-justified by its ability to act as a DAC with any level of transport quality (from a CD or DVD player). The fact that at REDGUM we use a CD ROM drive as our transport indicates our assuredness that after the signal leaves the transport, what happens inside our DAC must, and does, bring the signal up to and hold it in top notch condition. A coherent digital stream is needed if the sound quality is to be optimal, which it is. (No point in being modest here. It IS !!! How many of our customers have left their well known brands behind after hearing even just the RGCD2!! - see our testimonialpages)
We know you will agree that there is magic to weave by doing things just a little differently!
REDGUM is delighted to offer you …
"Insight for Sore Ears!"
index
And the difference between a DAC2 and a DAC5?
The RGDAC5 (and the RGCD5ENR) have the 'top of the line' American Burr-Brown' DACs - the PCM1702 - these are the first sigma-delta DACs designed by Burr-Brown and are regarded as the Rolls-Royce of DACs. The RGDAC5 uses 2 separate DAC units which are combined with, and direct coupled to, 2 x Analog Devices ultra low noise BiMosfet single channel op amps as output stages. This combination is supplied with its digital information via a Cirrus Logic Reclocking and Reshaping chip with its own internal crystal clock (to remove jitter entirely,) and an NPC (Japanese) close tolerance digital filter.
The entire product is direct coupled, silicon to silicon, from the digital stream input to the RCA sockets on the back! - no capacitors (or phase angle changes of any sort throughout). This is made possible by the use of 7 (yes, seven) independent internal power supplies. There is currently no better way of getting clean audio from a digital stream.
As to the RGDAC2 and the RGCD2, once the PCM1702 DAC was established, Burr Brown saw the possibility of making 'economy versions' of this DAC (as the development cost of the Sigma-Delta circuitry was now covered). So they then released a dual channel 'surface mount' Sigma-Delta DAC - the PCM1710. This has both channels in the one surface mount chip, and can be supplied with a single operating voltage (5v), thus simplifying the power supply needs. In the RGDAC2, REDGUM uses this PCM1710 supplied with the same Cirrus Logic reclocked digital stream as in the RGCD5ENR (but without the extremely expensive NPC digital filter). The PCM1710 drives into a dual channel version of the Analog Devices BiMosfet chip (as mentioned above), but these stages need to be capacitor coupled from the DAC (as are 99.999% of all CD Players) as there is a 'bias' voltage on the output of the PCM1710. The result is that the RGCD2 is better sonically than virtually any mass-produced CD player.
indexREDGUM loudspeakers offer style, value, and performance.
Australian-made with real Red Gum wood veneer
magnetically shielded 2 channel & multi-channel
Designing speakers is not new territory to the electronics’ designer of REDGUM, Ian Robinson. Drawing on the experience in the ‘70s of designing his successful range of Link speakers was a natural progression to complete the presentation of what is now “the REDGUM sound”. With the support of the LEAP software (as developed by Thiel and Small), REDGUM has been able to develop a range of speakers that keep pace with a rapidly changing audio industry’s requirements. The now extended range incorporates shielded drivers using dual magnets for all models, thus allowing the versatility of 2 and/or multi-channel use.
A REDGUM system aims to leave nothing but its hallmark of sonic neutrality on the signal. This involves both a fine balance between the active units, plus the electronics being carefully matched to the passive unit, the speakers. Within the speakers themselves, there is another balance to be attained. The speaker box shape, providing the audible and visceral impact, needs to complement the visual impact, which relies on the veneer used. REDGUM believes it has captured the best of both aspects. The musical training and live performance experience of the design team has permitted their ears to tune the system to its finest point, a worthy match of aural to visual beauties.
The Veneer: REDGUM Bookshelf and Floorstanding Speakers use real red gum wood for the veneer. Regardless of the make of a speaker, sonic consistency within each pair and between all pairs of speakers requires that the speaker box is constructed from MDF board. However, this visually uninteresting material needs to be covered with a veneer for the sake of durability and aesthetics. Only in recent times was the technology first available to create red gum wood veneer, as it is such a difficult wood to reliably work with. To be able to offer our speakers in a wood of such grandeur, is to offer a uniquely Australian product.
The Speaker Shape: All of REDGUM’s Bookshelf and Floorstanding Speakers are able to create such a realistic performance that the listener can experience the feeling of “being there”. In part, this is due to the design of the speaker box. The internal structure for the Floorstanding boxes is separated into two (between the level of the drivers), with the dividing panel sloping downwards. In effect, the lower section acts as a subwoofer. The REDGUM Lucens Floorstanding Speaker has been successfully tested to the limits of an Audiophile test disc - when the test tracks ran out at 20 Hertz, the speaker was happily performing and still ready for lower subsonic frequencies.
Transforming these same speakers into a practical Home Theatre combination was simple - use the same internal volume, and lay them on their sides! Thus, the fully shielded REDGUM Centre speaker and Subwoofer were created to stack together, thus forming a space-saving pedestal base for a large screen TV.
indexWhy would you ever want 300 Watts a channel!!!
Most people would say ... "Nobody ever listens to music that loud!" The reality of it is that for accurate reproduction of sound, you do need 300 "Watts per channel - for not only what you hear under normal circumstances, but for what you need in reserve. It’s all to do with the way music is made up! A few background facts will make this clearer.
- the rustle of leaves produces about 45dB - a noisy office is about 65dB - ‘average’ level of listening to music is 90dB - modern CDs have a dynamic range of 90dB or more. - modern dynamic speakers use 90dB/Watt whereas modern planar-type speakers may be as low as 82dB/Watt (that is, 1 Watt of tone signal in = 82dB of tone heard) But it is the ramifications of one other fact that is often underestimated in sales hype. Fact - to make something sound twice as loud you need a level of 10dB more - this requires 10 times the power!!!
An example :- if you had a piece of music where a drummer was quietly using brushes on his kettle drum, and then proceeded to lay on a couple of very serious ‘rim shots’, these rim sounds are likely to be 50dB louder than the sound of the brushes. A not uncommon situation. To decide whether an amplifier is responsive "enough" to accurately reproduce the transient of the rim shot, what needs to be known is how much power is required.
With the lower efficiency of planar speakers at average listening levels (=82dB/Watt), a realistic sound pressure level for the brushes might be 62dB. Using the inverse of the relationship of 10dB more needs 10 times more power, the maths are as follows :- if 82dB per 1watt, then 72dB requires only 1/10 Watt and 62dB per 1/100 Watt. In other words, any amplifier (even Class ‘a’ types) would perform well enough in such a quiet passage. And this is why so many people can remain satisfied with their amplifiers performance of undemanding music.
However, when you suddenly hear the rim shots at 112dB (ie.+50dB on 62dB) you are much better able to assess the true ability of your amplifier. Some more maths! Starting with our base figure of 82dB per 1 watt, the progression is 92dB per 10W, 102dB per 100W and 112dB per 1000 Watts. To be honest, even the 300W REDGUM fails to totally reproduce the entire wave form - but our amp certainly gets a hell of a lot closer than most! But your body sure will jump at the crack of sound of the drum. It won’t just sound like a finger tapping on a paper cup, with your brain filling in the missing information based on experience. If you demand realism, then you need the REDGUM RGM300!
Why then, are most amplifiers unable to produce fast and accurate enough transients to recreate the original sound? Most exotic amplifiers have a very rigid power supply voltage, and this is done in an attempt to maintain stability. Because REDGUM amplifiers are inherently stable under rapidly changing power supply voltages, all our amplifiers have a power supply which is incredibly flexible, giving almost unbelievable transients. By using REDGUM’s own Ultraflex Power Supply, the 300Watt amplifier gives short term RMS power outputs of over 600W RMS per channel to cover the sorts of transients described in the example above.
Construction methods specific to the RGM300 include the following:- Each channel consists of a unit of 4 MOSFETs (especially designed for Audio work) with a total capability of 64 amps continuous current or 500 amps peak current. Combined with no limiting resistors in line with the +100 /- 100V power supplies, and very high current internal wiring, these units produce transients of incredible size and realism. Together they make it THE ultimate amplifier!
RGM300 SPECIFICATIONS
- 300 + 300 Watt RMS per channel continuously into 8 ohms (test typically at 317 W each) at onset of clipping
- 600 + 600 Watt RMS per channel 1/10 second pulse tone 10% duty cycle at onset of clipping.
- T.H.D better than .009% (below clipping)
- Signal to Noise > 110dB
- Slew rate > 70Volts/uS
- Damping Factor (Calculated) > 800
- Frequency Response 0.8Hz to 80KHz (-3dB points)
- Peak Current (Calculated) > 500Amp
- Total weight 35kgWhat is a 'HARDLIFE board'?
The HardLife board is used with our Subwoofer amplifiers. Some subwoofer drivers have impedances as low as 1.8 Ohms (Peerless for example) and they are also inefficient, requiring lots of current to produce the required result. Our HardLife board is for use with those sorts of drivers.Why does REDGUM have 'Dual Mono' and 'Single volume control amplifier models?
Our amplifiers with a Single volume control provide more convenience in operation over the Dual Mono control models. Originally all our amplifiers were Dual Mono volume control versions, due largely to our desire for excellence. The use of two volume controls (a 'Dual Mono system), is a method of minimizing both the number of contact points within the volume controls and the resultant distortion of the sound. Hence our Dual Mono volume control models are slightly technically superior to their equivalent single control versions.
For a description of the practicalities of adjusting Dual Mono volumes continue reading on this screen. If you prefer a more technical discussion of the reasons for dual volume controls, please see this.
REDGUM’s Dual Mono Volume Adjustment
Prerequisites for Use: Two Ears + One Hand
The Dual Mono volume control REDGUM amplifier that you have chosen offers a greater degree of flexibility than is perhaps immediately obvious. Being able to independently adjust the volume level for each channel is effective in two ways. The most readily apparent benefit is the ability to bring the position of the performer back to centre stage (should the recording present the performer as off-centre).
With the more traditional Balance control designs, adjustments will cause the chosen channel to drop out quickly and totally. In other words, an adjustment of just 2° to favour one channel creates a drop of around 10dB in the other channel! In contrast, with the Dual Mono volume controls, while maintaining coherent volume levels from both channels, it is possible to adjust the volume controls by a difference of up to 10 degrees between the channels. This has the effect of "balancing" the image, “seen” as the image of the performer moving by about 1 ft back to a more central position
A further advantage of Dual Mono is that the infinite variation within room acoustics can be directly compensated for. This micro adjustment is possible by the setting of the volume controls. Though perhaps initially viewed as less important, this second form of adjustment is really the principal hi-fi facility that Dual Mono volume offers and one that is constantly made use of.
Sadly, perfect acoustic spaces are more to be dreamed of than experienced daily. Fortunately, each time the volume level is adjusted using Dual Mono controls, the listener is subconsciously adjusting for the effect of the room acoustic in terms of how the image “snaps into position”, rather than what appears to be simply a change in the volume level. In this way, our ears are the judge of what sounds balanced, rather than relying on a visual line-up of knob positions.
What may have seemed a complicated two-handed volume adjustment is simple done with one hand!! Start with only one volume control and make a quick choice of a generally acceptable volume level for that channel. Then, taking a little more care with the volume control for the other channel, match the volume levels just by listening. You will know when they are matched as the image suddenly, and unmistakably, “snaps into position”.
Instantly, the performer has become a real person, inhabiting a clearly defined space! But if s/he has been recorded, or seems to be, too far towards one side of the soundstage, a further adjustment of the respective volume control will bring them more towards the centre of the image.
Once you are familiar with using the Dual Mono volume controls, you may find that the settings for both controls frequently share the same position, and so there is again the temptation to set them visually when fine-tuning the volume within a track. A quick way to overcome this is to use a side-on hand position over the top edge of both knobs. With the palm of the hand vertical and facing you, place the outer edge of your hand across the top of the two volume controls. With a light downward pressure as you move your hand sideways (i.e. changing the volume up or down), you will find that only a very minor adjustment of one channel is needed after that, if at all.
Obviously there may be a settling-in period needed for the use of the Dual Mono controls. All the same, we find that REDGUM customers report feeling comfortable with the adjustment within a matter of days, and in a week have forgotten about it as being something to actively consider. By this time, the Ears have fully taken charge of computing what adjustment is needed!!
As a backstop, a thin black drive belt can be supplied which externally couples the two volume control knobs together - this works well, but looks a little unprofessional, hence is not widely promoted. Viewed from the front when sitting, the belt all but disappears. Understandably, it is not to everyone's taste. And once customers have tried the ways of adjusting with one hand, well, ... it is requested even less.
It may seem that REDGUM is hanging out on a limb with this feature (hmm?) ...... but to summarise what Gramophone magazine’s reviewer, Andrew Everard, wrote in Jan 2001, p122-3 when reviewing a REDGUM system (60W amplifier RGi60 + our top line CD player RGCD5 + bookshelf speakers RG28i) ........... he was able to obtain a more subtle fine tuning using the dual volume than if he had used the more conventional separate volume and balance knobs. REDGUM rests its case. And is sure you will agree once you have experienced the difference!
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