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Munich Highend 2017 Show Report

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  1. bmichels
    On the other hand, we were very disapointed by the OMNIA DAP from NuPrime.

    Not only it's software was really not ready (crashed often and could not read our MicroSD card) but also its plastic feels very low-end. Far less exciting than the new A&K TOL ! I did not even bother taking pictures of it !

    Capture d’écran 2017-05-22 à 22.03.44.png
    Last edited: May 22, 2017
  2. ufospls2
    Anyone have a chance to listen to the Abyss Diana?
  3. jwbrent
    Any word on the retail of the SP1000? I'm definitely interested!
  4. jwbrent
    Never mind, $3,500. A little surprised by that given its TOTL status.
  5. bmichels
    Also disapointed by the $6000 Hifiman Susvara ( ex Édition 6). in a quite room, with their EF1000 big amp, we listened to the Susvara, and ... my friend could not justify upgrading from his HEK v2 ! And for me, the low sensivity is a no-no for traveling (I have a BHSE+SR009 for home use)
  6. bmichels
    Yes, and... nothing extraordinary here. Plus NOT very confortable. And no isolation at all.
  7. bmichels
    IMG_3784.JPG Here an interesting very good looking 3 ways Spanish speaker from AlsyVox that uses a ribon technology close to what is used our planar headphones. The provided Bass and their efficiency are surprisly good (93 db/w) for such technology.

    They have a line of 4 models. The last 2 built on order. The Entry model cost 50.000 € and this Botticelli that we listened cost 80.000 € the pair , is 177cm high.

    Capture d’écran 2017-05-23 à 12.05.55.png

    They've Sounded very good and exciting. Very transparent and very dynamic with the sound coming from everywhere and not only from the speakers.

    May be sometime they were a little agressive but they were driven by some stupid fancy Italian DAC/amps (The red ´spaghetti octopus' in the middle). I wish I could have listened to them with a good DAC/amp System like Vincent's TotalDAC + tube amp demo set-up.
    Last edited: May 23, 2017
  8. bmichels
    IMG_3861.JPG Finaly I rushed into a very very intriguing 3D demo for Speaker system (NOT headphones).

    The 3D digital processing box, inserted before the DAC, removes the crosfeed ( they say ´clean' the stereo signal) and the instruments are really all around you when the system is activated (there is also a version of the box that includes a DAC ) .

    The demo start with a 1 minute calibration process with microphones positioned inside your ear and then you get binaural effect from any stereo recording with a standard 2 channel speaker system. It was really IMPRESSIVE. Check their web site...

    IMG_3857.JPG IMG_3862.JPG IMG_3863.JPG IMG_3858.JPG
    Last edited: May 23, 2017
  9. raypin
    Mm..re: Obravo EAMT 1 and 2, I am surprised about your negative impressions. Headfonia and Headfonics found both models to be exceptional. What gives?
  10. fiascogarcia
    Yeah, and there's another interesting positive review on Earphonia.com worth checking out, with some of the caveats of owning them. I think the Eamt models are very tip sensitive for starters, then add to that the fact that the source can make a difference as well. I don't have any totl DAPS, so I can't really comment too much on what some reviewers have said about that. I've owned the eamt-1c for about 2 months now, and can say that it took me about 2 weeks of switching tips and insertion depth back and forth before I found a sweetspot that gave me the cohesiveness and beautiful vocal and instrumental timbre in the music that still kind of shocks me when I first put them in my ears. Add to that a more than impressive soundstage, and I've not regretted investing in them. Also, you might read from a couple of the reviews that the Hugo has a good synergy with them, and I own a Hugo so I was lucky in getting that combo matched up. I added an LC to the chain, and I personally feel I've reached a pretty high level of sonic bliss. I would have to agree with the earphonia review, and say that you probably can't just slap a pair of tips on them and plug them into your favorite dap, and know for sure you're going to get the sq that these things are capable of. That's probably why the people that audition them at shows are so mixed in their impressions. Having said that, there are no doubt a lot of TOTL iems and ciems that will sound good with anything you plug them into, and I understand the big advantage in that, especially when you're spending this kind of money. So, are the EAMT's practical? I guess not, given that they probably perform so much better with equipment you might use with a full size headphone, than with portable on the go equipment. But in my opinion, they're wonderful iems, with amazing detail and natural sound. They are expensive, and I don't know if any iem is worth this price point, but I can say that I'm glad to own them. I'll get a better idea of how I stand on the Obravo's when I get a chance to spend time with the 64 Audio Tia Fourte's and Tzar's on their tour. Cheers!
    Last edited: May 23, 2017
    Tawek and raypin like this.
  11. raypin
    Mm...is the treble terrible?
  12. bmichels
    We also tried those LCD-i4 in Munich. We could not make any jugement because of... total lack of isolation. The fit is good and confortable, but ambiant noise made the test useless.

    I have to admit that I have a hard time justifying buying a non-Isolating IEM ! can someone explain me ?
    Cagin likes this.
  13. bmichels
    This is the 'Album mode' of the new AK Ultima SP1000.

    The new UI is great, but... I wish it was possible to adjust the Cover Art size to display more Albums per screen. Like being able to choose between 4 x 6 small images and 2 x 3 big images. I asked but apparently it will not be possible with the 1.0 Firmware.

  14. AManAnd88Keys
    The following are my impressions of the 2017 HifiDeluxe show at the Marriott Hotel in Munich. The Hifideluxe is, to my knowledge, a spin-off of the much bigger High-End. It's a relatively small show with about twenty exhibitors. There are two key differences compared to the High-End:

    1) The show focuses exclusively (or almost exclusively, more on that later) on ultra high-end manufacturers or costly top-tier setups from broad-range manufacturers
    2) The atmosphere, or "vibe" of the show is vastly different. There are much less people attending the show as compared to the "big one", which means: no background noise from people in the hallways, less chatter in the rooms, overall quieter rooms, more time for questions and conversation with staff, more chances to get a good listening spot (sometimes I was the only guest in the room!) and so on... It's a big advantage from my perspective.

    Before I start, here's the big let-down: no pictures. Yeah, I know, bummer. I wanted to bring a professional camera as my wife's got one, but unfortunately she left it at her sisters place and I found out too late. So I desperately tried to take some decent pictures with my cellphone, but it was of no avail. All the smaller rooms at the show had bright windows right behind the main setup and bad lighting, and even in the bigger, better-lit salons I just couldn't manage to take pictures I was happy with. I have to make up for it with even better descriptions of the different audio setups!

    I visited almost all rooms with the exception of two: Kii Audio and Etalon Sound. My time at the show was limited and I had to make a cut somewhere; those two brands seemed the least interesting to me.

    In alphabetical order:



    Acapella brought the new Campanile 2 speaker, a taller-than-a-man speaker in the typical "square monument with horn" design Acapella is known for. The speaker features the brands' unique aspherical horn in the center, at about the height of the listeners ear, with the famous ion tweeter right below it.
    I have to say that the sound didn't impress me. It seemed very "cultivated", very gentle and silky-smooth to me. Not boring or outright wrong, but it lacked energy and impact. I understand Acapella's philosophy and their attempt to take the directness and effortlessness of the horn and make them gentle and "nice" with the aspherical design, and I also have experienced the smoothness of ion tweeters on other speakers (Lansche) before, but for me this design approach brings horns too far away from what I like them for - after all, my personal setup features three-way horns. However, people who have always found horns to be too aggressive could genuinely enjoy Acapella speakers. Their design makes them an edgy art installation anyway, so one could see it as an investment in two areas...
    I didn't stay in this room for more than a few minutes and I have to admit that I do not recall what kind of electronics they were using with the Campanile 2.

    Alsyvox + Omega

    Alsyvox exhibited their unique full-range ribbon speakers - in my opinion, a beautiful piece of audio engineering. Luckily, when I entered the room a whole group of people were leaving and the owner of Omega sound, who was responsible for the selection of the music, asked me and a couple others who entered with me what kind of sound we would like to listen to (a very nice move and more exhibitors should do that, at least from time to time). I said I would like to enjoy some Jazz, as that is what I listen to 90% of my time. Now, I know that "Jazz isn't Jazz" for everyone, so I was secretly hoping that they wouldn't torture me with something too kitschy. We started off with a Patricia Barber song I wasn't familiar with (I'm not a huge fan). Well recorded and with a lengthy organ solo, what immediately struck me was the effortlessness of the Alsyvox ribbons and the abilities of the speakers to completely VANISH. I do not recall many other instances where a system was so able to just disappear. Sound was very, very clear and transparent with a realistic, big and open soundstage. The overall voicing was very studio-like, very even.
    We continued with a recording I have listened to quite a number of times, Tsuyoshi Yamamoto's "Midnight sugar". Sound levels now were obscenely high. When one of the listeners asked if this wasn't a bit too much, the speakers inventor replied that he likes to show off his creation at high levels at least on some occasions, to demonstrate that here is no compression and no perceivable edginess even on very high volumes. He was right at that.

    Amplifon + CEC

    This was about the fourth or fifth room I entered on my visit and the first one where I felt that I am listening to serious high-end sound. As a builder of tube-amplifiers myself, I must say that the polish Amplifon (NOT to be confused with the hearing-aid manufacturer) GM-70 is a piece of art both visually and sonically. It's aesthetics are as classy as any japanese product (Wavac and Kondo came to mind), the GM-70 triodes produce a beautiful warm light and the sound is DHT-bliss. Impact, tonal colours, palpability, spatial resolution... it's all there. This is an amp I could happily live with for many ears. We listened to Marcus Millers "Rush Over" (from Tales) and this again is a piece I know very, very well. It was an absolute joy.
    An interesting detail: the speakers were nothing special, an older pair (15 years of age) of small floor-standing speakers from Linn. The distributor of Amplifion brought them from his home and the reason behind his choice is rather amusing: when he had set up the room with the speakers of a company he initially intended to partner with for the show, Amplifons owner and chief engineer came over to listen to the setup. Reportedly he was so disappointed in the performance that he would have rather preferred to cancel the whole thing than to demonstrate his amplifiers with such abysmal speakers. In his desperation, the German distributor went back to his home (a car drive of a couple hours) and brought his personal pair of speakers, hoping that his business partner would like them. And he did. Goes to show that a 11.000€ amp doesn't necessarily have to be combined with expensive, top-tier speakers to make exciting music.


    Setup: CD-Transport 2.1, DAC 2.1 or Audionote Turntable (not sure which one) and Meishu Silver Phono integrated to AN-x speakers with blue hemp drivers (probably top model)
    Over the course of the afternoon, this room was one of the most visited and I can understand why. Audionote has a recognizable signature sound, a tonal character that is present in their entire product line, one that is characterizid by a rich, energetic, toe-tapping presentation. For me, however, this is not perfect sound, as no matter what Audionote product I have listened to so far, they always sound a bit overly rich and slightly thick to my ears. But, as was the case with Acapella, I can definitely get why people buy the company's products. It's an interesting mixture of rhythmic drive AND pleasing, seductive tonal colours, and a lot of music just sounds very enjoyable over an Audionote system. Surely not the last word in accuracy and neutrality, but what you receive in wine-like richness could be hard to dismiss for some.


    As stated before, I skipped the room. Maybe I missed out on something great, maybe I didn't, I simply didn't have enough time.

    FM Acoustics

    Placed in a huge salon, FM acoustics setup sounded good, but did not impress me in any particular way. It reminded me of entry- to mid-level studio sound and something told me that a nice pair of Genelecs could to the same for a fraction of the price (or even better, I love Genelec). FM acoustics did not display any prices (a common habit for ultra-high-end manufacturers), but I found out later that they absolutely belong in that category.
    What I honestly found off-putting was just how much they praised themselves. Now, audio shows are certainly not a competition in modesty, but there is a line somewhere... Every product description was packed with superlatives, even their smallest pre-amp (everything I found out online suggests that it's a simple transistor design, costing five figures) was described as being the reference, while the next bigger model was claimed to be the absolute best, and the next model the ultimate.... I guess you catch my drift. Also, there was a long list on display about all the artists that use their products - or one could get that impression after a short glimpse, because the exact wording was along the lines of "artists that reportedly use our products or are in some ways connected to the products of our company" which could also mean that anyone whose producer or engineer once 20 years ago used their gear for one B-side track is on that list.
    The unimpressive, vague sound and the tendency to make themselves look like the biggest thing since the invention of bread (while also asking a fortune from potential buyers) made me leave the room quickly...


    Perfection. I honestly mean that, and I have heard so far one of the biggest Western Electric systems with Silbatone gear, Wolf von Langa field-coils, the huge Cessaro Beta system and many more of the greats. I have had my fair share of summit-fi. JMF had the "most perfect" - perfection is an ideal and never to be reached, it guides us but remains forever unattainable, hence "most perfect" - system I have heard in my life. Naturally, it costs quite something (the stunning preamp for example starts at 50k) but what you get is sublime. I believe the very friendly staff (two french men whom I believe to be the sons of the company's founder and current heads) when I mentioned to them that this was the ONLY room at the whole show that gave me goosebumps (an understatement, I wanted to cry) and one of them replied that "even after many times, I still get the same feeling. It does not change, every time it's the same "Ah!" that I feel with our system." He also said that they sincerely hope it's the best thing I have ever heard. They were, dammit, right. It's a dream of a setup. ("People come to us and then they are surprised, because they say "What problem? There is no problem.")
    An important lesson (or reaffirmation): horns are still closest to the truth for me (JMF speakers use midrange horns with custom TAD drivers) and transistors can be at least as good, if not better than the best tube amplifiers. As someone who builds his own tube amps, something to seriously think about.

    Kii Audio

    Skipped the room.

    La Rosita

    A nice range of DHT tube amps from France with Japanese components (Hashimoto transformers!) and, of course, their famous streamer. Strangely, I have no idea what kind of speakers they were using. I didn't stay for long, but I remember a delicate, graceful sound. Again, a sort of tonal signature that reminded me not a little bit of classical French cuisine - delicate flavours, no harshness, careful use of spice and colours and an overall elegant form. It's not exactly my cup of tea, but I can - again - see why people like and buy their stuff.


    A room packed FULL with amps. And Mal Valve amps are, as the Germans would say, "Röhrengräber" ("tube-graves"), because they use so many tubes. They are practically packed with tubes. So, as you can imagine, one of the warmest rooms at the show - about half of the amps were running!
    When I entered the room, company founder and chief engineer Dieter Mallach was sitting quietly in a corner while a handful of people were listening to his speakers, a unique combination of open electrostatic panels for the high frequencies and a closed (!) magnetostat for the lows. Sound was accurate, fast and powerful, something I could really enjoy for a long time. The speakers were driven by a pair of round-shaped 300W tube amps (KT 120 output tubes) with external output transformers, something you don't see often with amp manufacturers. This offers two key advantages: the amps are much easier to transport, as the weighty OPTs are not built-in; and it's a hell of a lot easier to repair or exchange the transformers as all you have to do is take off a bunch of cables.
    Luckily, after the demo track had ended Dieter asked if anyone is interested in listening to headphones. I said yes, and since I was the only one left - everyone else was about to leave - I got to enjoy Mal Valves new top-tier amp with the Stax SR-009. Here's the important part: I had never experienced any of the two components. So what do you think was my reaction? Astonishment? Disappointment?
    A brief technical description before I reveal my answer: the new amp is a KT-120 push pull integrated (ECC99 differential driver section, but just a guess). If I recall correctly, it uses 20 tubes. I told you, I'm talking about Mal Valve... "Röhrengrab"! As the quite-famous Head Amp Three, it can drive any headphone, be it dynamic, planar or stat and even speakers if equipped with the optional external output transformers ("But I guess only about 10% of buyers will consider that, the rest doesn't even listen to speakers" - Dieter Mallach). There are RCA and XLR inputs and outputs as well as a complex cross-feed implementation that lets the user choose between 8 levels of crossfeed ("Some people don't perceive any difference while for others it's essential, so I wanted to put it in there"). As someone who appreciates crossfeed and can definitely hear an improvement when it's active, I welcome that decision.
    The amp gets really warm, just a little below the point where it would cause minor burns. I'm NOT joking and I was also not the first to point this out, as Mallach recalls. But he's a man of no compromise and putting 20 tubes on top of a case has that effect ("I could decrease the bias current a little bit without much sonical difference, but the heaters have to stay where they are, as you might understand. So yes, it gets really warm, that's the price for the performance"). It's just a weird feeling when you touch a volume knob and you get the sensation that the amp is probably melting under your hands....
    The sound: studio, in the best sense. Accurate, even, free of any frills. Nothing stood out. I know that some of you expected me to be really enthusiastic, but all I can say is that I heard a very neutral, completely grain-free representation of Stevie Ray Vaughans "Tin Pan Alley (Roughest Place In Town)", a common demo track - and a very good song. Many would find this sound probably too pure, too "authentic" if you get what I mean. There was nothing that grabbed me but after a few minutes I got the appeal of such a system: absolute honesty. Something tells me this would be a serious tool for mastering engineers.


    Japanese spirit. A wonderful little (still expensive) system consisting of Reimyo electronics, Harmonix bases and cables and small Encore near-field speakers. Despite the size, the sound was grown-up, with a surprising amount of bass from those little boxes. The setup sounded elegant, very cultivated. While I could say the same about, for example, the La Rosita room, this was a different league. It's hard to find the proper words for it, but the sound had "soul". For me, this is the Japanese spirit: accurate, but glowing from within. I always feel the same with traditional Japanese manufacturers, it really must be a cultural thing...
    Although I love horns, I enjoyed this system a lot as I felt that it succeeded in revealing the "musical truth" of the performer. I know, I am bordering now on the esoteric, but this is the best I can do. The Reimyo / Harmonix / Encore setups expressed music as an art, as something that should touch and inspire you. In that aspect it was as good as the JMF, whereas the latter was also close to perfect in everything else. Some of you might ask "Well, what else do you need?" and I honestly don't know what to reply. If all you look for in audio electronics is that feeling of looking "inside" of the music, of experiencing the soul of the record, then consider a setup such as the one I just described.

    End of first part.
    Last edited: Jun 27, 2017
    jeffhawke, nick n and FUYU like this.
  15. AManAnd88Keys

    Prism Sound, ATC loudspeakers and GIK acoustics

    At a show like the HifiDeluxe this room was one of two "odd ones", because gear was actually affordable this time. The star of the setup: a DAC/Preamp for about 2.200€, the Prism Sound Callia. All of the three brands are at home in the studio and the sound was like you would expect from such companies: neutrality and detail, detail, detail...
    The nice GIK acoustic panels (standing around everywhere, it felt like an Ikea for acoustic treatment) immediately caught my eye and I now seriously consider buying some of their diffusors and absorbers for my own private system. GIK sells direct and to me it looks like the price/performance is very good!
    Interesting trivia:
    1) Mark Knopfler reportedly uses the same DAC as well as ATC speakers. When the guy from Prism Sound mentioned that, he put on Dire Straits via Tidal and it surely sounded good. He seemed to be quite proud when he said that this is probably the closest to what Mark Knopfler hears when he listens to his own recordings. Dire Straits fans, you know what to buy now...
    2) ATC had to exhibit at the HifiDeluxe because they applied too late for the High-End: "We are quite big in the studio business and usually, people know us. So we acquired this bad habit were we always apply very late, because people are happy that we are going to come and always have space for us. For Munich, we applied in late 2016 and the whole show was already fully booked, they told us it had been like that for months...". Somehow I had to chuckle...


    When I set foot in the Quad room, the words of Dieter Mallach (Mal Valve) still echoed in my ear: "they [full range open planars/stats] can't produce proper bass, because the open construction leads to an acoustic short in the low frequencies". When my eyes fell upon the new flagship speakers of Quad, tall fullrange panels, I wondered if he was right. The Quads had a nice amount of detail and the effortlessness they are famous for. Sounds seemed to emanate from everywhere in the room, the term "holographic" is appropriate here. They also sounded a bit warm, maybe too much for my ears but that could also have been due to the electronics feeding the Quads (I do not recall exactly what the whole setup was...) and yes, there was definitely a lack of bass.
    One of the staff members told me that this is the long awaited successor the the original Quad ESL-57 (and respectively, the taller ESL-63), which hit the market for the first time in 1957. After 60 years they thought it was time for an evolution. Having never heard any iteration of the ESL-57 I cannot judge if Quad has been successful. However, compared to the Alsyvox fullrange ribbons, the sound coming out of the new Quads was considerably less fresh and exciting, with the latter also being much more powerful in the low frequencies, but it still had something going for it. After all, there aren't so many fullrange electrostats or planars (or ribbons, if you consider the Alsyvox) on the market, so if you are a fan of the concept, give the Quads some listening time whenever you get the chance. There certainly is a special magic surrounding this type of speakers, even for a horn aficionado like me.

    SPL + Sky Audio

    The second odd one out. Again a traditional (and recommendable) studio company trying to set foot in the consumer hifi sector... Well, for my ears they are on the right track. Soundwise you get what you expect: clear, dynamic studio sound. The air-motion transducer on the Sky Audio "Verdade" near-field speakers certainly contributed to the overall impression of open and detailed sound. While SPL comes from a world of active speakers, in this case they used the passive Verdade speakers (which are modular and can be upgraded to bigger floorstanders, I was told) with an active crossover, something not too common in consumer audio. The whole system (SPL DAC, SPL Phonostage, SPL crossover and SPL monoblocks) was modest in size and had a modern, straight-forward look. Everything could fit on a larger desktop and clearly reflects SPL's intention to make the system attractive for both studio professionals and private audiophiles with smaller rooms (or spare change and space for a second, smaller setup).

    Tannoy + Unison

    The first room I went to on that Friday afternoon. I must say right away that what I heard wasn't really to my tastes. While the compact-sized Tannoys and the Unison Triode 25 looked good together and put forth a rich sound (delivered by a Rega turntable), it all just was too vintage for me. Good drive, but also thick and overly fuzzy with sub-par abilities to render a clear, precise soundstage. I somehow felt as if the room was several decades behind in audio evolution. I know this sounds harsh and maybe I am exaggerating a bit, but this was the first impression I got when I listened to the setup. Some would argue that it's a great system for guitar blues and early Bob Dylan while you are sipping coffee in the kitchen or whatever, but I can live without that. Not for me, and unimpressive compared to any of the other exhibitors. A hard realization given how famous all of the companies involved are.

    Totaldac + Absolare

    Big money in a BIG room. Totalsound brought their HeadDac, the big Twelve DAC (30+k) and the new D150 wooden horn speakers. While I was in the room, the speaker system was playing. Being a horn speaker - that's always a good start for me - the D150 certainly demands respect with it's deep, protruding wood horn that seemed to house both the mid- and highrange drivers. Driven by the new Absolare hybrid integrated amplifier, the sound had some character and emotion, but didn't really pull me in. I cannot exactly say what it was, but I felt slightly uninvolved.

    Viva Audio

    I have to admit that I am a fan of Viva Audio's aesthetics. The main tube amp in my system, which I built myself from scratch looks not even a bit like anything from Viva, but I still appreciate their design. Maybe it's just because of the 845 tubes and glossy surfaces... ooooh shiny!
    The large speaker horn system, Viva's "Master Horn" with 4 (!) tube monoblocks - yes, that's SIXTEEN 845s in total... certainly took away a pretty nice chunk of the room, but visitors still managed to get a good listening spot. The sound is as Italian as it can get: enjoyable, elated, not overly accurate - you want to enjoy music and shouldn't be distracted with unimportant details. Indulgence instead of dry honesty. By all means atmospheric, even if that means "prettying up" some things... In some ways it made me think of a more refined AudioNote, as both share similar ideals while the Viva setup played in a different league - it also costs a lot more (although I am not so sure about that, Audionote prices are ridiculously high nowadays...)
    As I have already said a few times, I can understand why this company is in business, it's a sound signature many people enjoy.

    Zanden + Kroma Audio

    I was really looking forward to experiencing Zanden for the first time. Just like other Japanese manufacturers of high-end audio, Zanden is surrounded by some mystique and an aura of "they know something others don't", at least that's what I had taken from show reports and reviews of their components.
    A short-lived illusion. Maybe it was the wrong setup, maybe it was something else and they really are that special, but NOTHING, and I mean nothing about this system impressed me. It was like FM acoustics all over again, but with bigger disappointment as I had some expectations. What made everything worse was the design of the tube monoblocks, which reminded me too much of soulless Chinese wannabe high-end. Instead of the classy, almost dignified aesthetics Kondo (or Air Tight, to name a more affordable company) are famous for, the amplifiers' appearance was a cheap one. Combined with the boring, uninvolving sound I had no choice but to leave after a few instances, to spend some more time in the JMF, Reimyo or Amplifon rooms...

    Overall an interesting experience and definitely worth the time and travel expenses. Until next year (with a better camera, I promise...)!
    Last edited: May 24, 2017
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