Measured performance is excellent, the bandwidth going far beyond the audio range in both bass and treble, with low distortion into any normal headphone impedance and plentiful output.

Output level isn’t everything and the Pro-ject will in any case drive even harder, but this amp impressed not least on account of its large audio scale. Indeed, even with quite modest volume-control settings the soun just seemed big and generous, tonally, dynamically and even spatially. Once again, there’s a lot of detail, but the dominant impression is of size.
Funnily enough, this was perhaps more pronounced with some unaccompanied solo vocals than with orchestra or mega-rock, but that just serves to remind one that the human voice can indeed be a very big instrument. Perhaps if you like your music a bit on the polite side this may seem a touch excessive, but we freely confess that we just loved it. Tonality is great too.

VERDICT
This amp does all one might expect of it and goes a little further too with a larger scale of music than headpones normally achieve.

...At the top end, the Orbit 1 imbues the LP12 with real clarity and spaciousness. The steady backing cymbals on 'Take Five' suddenly gained real scale and a magnificient sense of airiness to them - the decay of the note produced by each one was startlingly vivid, adding commensurate metallic shimmer to them.

Equally obvious were the improvements at the opposite end of the frequency range,
and this is where the Heed really came into its own. Bass not only seemed to go considerably deeper, but the Orbit 1 gripped the upper bass with an iron fist and added
a considerable amount of extra detail – quite startlingly so in fact.

The bass guitar used on the Icicle Works 'Blind' took on real form through the Orbit 1, whereas it had been rather lifeless and blurred through the standard Valhalla. As this is actually played and used as a main rhytmic underpinning of the track, it increased
my enjoyment of it immensely and really shifted the LP12's performance up a gear. Spinning Grace Jones' 'Slave to the Rhythm', the Orbit/LP12 combo proved to be incredibly adept in low frequency terms and I would say that the Orbit 1 puts it within shouting distance of a full-blown new LP12 with Keel and Lingo – it really is that good.

CONCLUSION
All in all,  the Heed Orbit 1 proved to offer a dramatic improvement to the LP12.
It augments the LP12's innate rhythmical abilities whilst adding a healthy dose of dynamic slam and top end detail that is missing in the original.

The effect of the Orbit PSU is astonishing. The reproduction seems faster subjectively, and therefore we have controlled the speed more than once by a stroboscope – all just illusion. Rythm gets a move on markedly, seems snappier and more forceful. Individual tones get shining like being high-gloss polished, and sounding more fluid, streaming more sparkle. In regard of bass, it seems to be backfired superficially – completely wrong, however: The cleanly processed current takes away some sluggishness and richness from deep tones.
In principle, these effects are comparable with all tested record decks, however being differently pronounced. Therefore, a good, old Thorens TD160 makes a much bigger leap forward than a Rega Planar 3 which already has a very nippy pace by nature.
But even here, a distinct progress can be made – namely, if by going for the Orbit 1.
The direct drive of the 115V-Volt-Motor gives the Rega a decisive Kick and opens up bigger rooms, lends it deeper bass reproduction.

Astonishing how sensitive turntable drives respond to changes of this kind, the positive result of this measure is clearly and immediately recognizable. Perhaps, before you swap your cartridge for a bigger one next time, you better try first whether more sound improvement is possible for your money herewith.

Budget phono stages, particularly MC types can sometimes be a little challenging on the ears, especially for those of us who commonly use a silky Eastern Electric valve phono stage, but the Questar MC was a great relief in this respect. It has an immaculately smooth treble that removes the stridence from ahrsh recordings without falling into trap of muffling anything. Somewhat less detailed than some, the Questar MC has very good levels of treble ambience and space.
Midrange from the Heed is very fluid and composed. Although obviously lacking the insight of valves, it still commendably detailed and atmospheric, giving a good sense of realism to instruments, and setting up a stable and deep soundstage in which they are firmly located. The Heed spreads orchestras out well before the listener and plays smooth vocalists with good atmosphere and feeling. This melds smoothly into the bass, which is where the Heed really does score.
At the bottom end, the Heed has surprising depth and grunt, but fortunately, this does not result in a wallowy boom. The Questar MC is fast, taut and throws bags of detail in for good measure. Bass lines could rumble the sofa with suitable material, but the Heed never become less than well controlled, and it tracked complicated bass lines, whether from bass guitar or a synthesiser, with the skill of a bloodhound.

CONCLUSION
For its selling price of £225, the Heed Audio Questar MC is something of a bargain. Briefly, and somewhat unfairly, comparing it to a £1,200 Trichord Diablo we had available showed that, although the Trichord had a definite edge in terms of soundstage, atmospherics and treble insight, the Questar MC was able to show a clean pair of heels in terms of bass depth and detail - I came away impressed with this little black box!
Although the lack of fine tuning of gain and loading is a slight disadvantage in terms of getting the most out of your cartridge, the fit-and-forget nature of the unit will appeal to many. For £225, it warrants a firm recommendation.

Boosting a record player's weakling signal before it gets to an amplifier is a job of Hungarian specialist Heed Audio has been doing for a good few years now, and the Questar might be ist best effort yet.

A moving magnet or moving coil design (we tested MM),
the Questar majors on natural, fluent and lyrical musicality.
It doesn't offer the wide-open soundstage of some competitors,
but the verve with which it approaches tempo and timing, the convincing lucidity of its low frequencies and the effortless manner it integrates voices more than compensate. If your system justifies the outlay,  you'll find hours of satisfaction here.

The Heed Luna preamp and Canopus mono amps make a very musical sound. They create a good impression of a real and lively sound.  Instruments sound recognizable
as they should and vocals create an illusion of person-in-room-with-you, as it should.
As an amp/preamp system, I could certainly distinguish the distinct characteristics of source components and recording quality. so they are detailed and accurate enough.

That previous description may sound rather matter-of-fact. It was. But it was intended to describe the qualifications rather than my reactions. Reaction? I really enjoyed listening to my music through the Heed Audio Luna preamp and Canopus mono amps. Listening through this system was very satisfying for me. I would not say it made me feel more in touch with the music, or even more emotional. That it even enhanced my emotions like a good drug can.  The Heed amp/preamp system is a satisfying experience because things sound like you would imagine them to.  Nothing stands out above anything else in its sound portrayal.  It had rhythm and it had real tone. It output proper bass and expected treble. It did not enhance my perception of an ambient space around the music.  I actually felt it kind of made music sound more like it was direct-miked than room-miked.

Now, let me tell you how the Quasar phono preamplifier took this system to the next level.  Listening to my albums through my trusty and well-reviewed/respected Gram Amp II SE phono preamplifier, the sound was as described above.  Listening through the Quasar and WOW!  Where did all that excitement come from?  I feel lighter.  I feel like I'm there with the musicians, in their space.  I feel like the singer is singing to me. The band has come alive. They're not tired any more. They're having fun.  AND, they've upgraded all their instruments. changed their strings and their drum heads, etc.
THAT's the impression I had when listening to this system with the Quasar phono pre in the chain. That's how I know the Quasar is the star of the show. This is a phono preamp you want for any system.  I have it in my Brooklyn system now, which consists of a Red Wine Audio Clari-T amplifier and Bastanis Prometheus loudspeakers and it is doing all the same things I have described above. I would wager it would bring the same qualities to any system it is introduced into.

Maybe Heed should make a device to sit between a CD player and their preamp to inject that same magic. It would be just another one or two small boxes ;-)

To sum up, the Heed system is one tempting gathering of cool minimal little boxes that makes listening to music more interactive and entertaining. The Luna preamplifier and Canopus mono-block amplifiers are accurate and consistently let you hear your source. As an in-between source (in-between your turntable/cart combo), the Quasar phono preamplifier is an incredible piece of kit.  It is magical. It takes the music to a euphoric yet realistic level. It heightens the aural senses. Basically it makes listening much more pleasurable. The Luna is the Heed component out of this system that would enhance any system.  

As a system of three: the Canopus mono-block amplifiers, the Luna preamplifier and Quasar phono preamplifier make better music and music better. "

If there was an accolade for inconspicuous design or understatement, the Heeds
would surely be candidates for winning. Unfortunately, their minimalist appearance rather leads to get them underrated instead of properly acknowledged. Namely, there are many good ideas and smart solutions in these dainty ashlars - and all that for prices almost mocking for the level of sound quality they offer.
.....
Being driven by two pairs of [Canopus] power amps, the Envoys undergo a real metamorphosis. My goodness, all of a sudden it is a different loudspeaker: fast, forceful and determined, it gets down to business full of enthusiasm and lust, irrespective of the musical genre being played. . Resolution and  3D-presentation are truly delivered, and that to a pretty high standard, while keeping performance intact. This is great skill, the kind one doesn't come across too often.
..
For me, presentation of coherence is one of the most important criteria of music reproduction - that is, intact sound pattern instead of spreading disconnected details. This criterion, dispite of no less than seven power amps being at work in my setup, is fulfilled effortlessly with the Heeds. I didn't expect this level of competence from them. Respect!
..
There are better pre- and power amps, of course. Those are, however, much more expensive and also a lot bigger than the Heeds. Whether they are any better at conveying the emotional content of music, be left aside. But, it just shouldn't be interpreted as kind of palliating or colouring of the Heed electronics, then, Luna and Canopus don't do that for sure. They never lose track of high-fidelity virtues. This special merit of the Heeds rather coincides with refining dishes masterly which, nevertheless, must be decently prepared before.

VERDICT       With all their purism, Heed's Luna preamp and Canopus monoblock power amps have a truly big heart for music. This gear guarantees joyous music reply, with minimal space requirement and for a minimal price. A fine entry into the world of high-end music reproduction.

Can't be smaller... HiFi-Forum: Heed Luni / Canopus

February 2006

 reviewed by Carsten Barnbeck

By having a look at the inside, one easily realizes that these components are anything but plain design units. Circuits are kept extremely straightforward and efficient, and high quality parts are applied throughout, some of them custom-made for Heed. Torodial transformers provide substantial mains supply for the power amps with their after all 60 Watts (4 ohms) in order to never getting out of breath.
..
The three Heed units, however, were most convincing - and it is after all what really matters - in the listening room. This mini chain plays astonishingly forceful and dynamic, drives even full-fledged floorstanders like Magnum's Quantum 905 with ease, while being well-balanced and even. The purism being practised by the Hungarians pays off doubly and more: the setup not only sounds wonderfully refined and open tonally but plays music in a lively and rythmic fashion which gives reproduction much flow and musicality.
Voices stand between transducers as if being chiselled there, with pleasant, natural tonal colours, while surrounding instruments get ramified transparent and clean into the depth of the room, impressively twining around the act. Midrange is homogeneous and well-balanced, lending the setup pleasant and atmospheric tonal colours, while the upper range offers a great amount of resolution, however without being strained or stressed. Just the right dosage!
For this Heed combo, with its atmospheric and fluid music making, there is no need to hide of comparisons with any rival in its price class, and certainly should not come forward only if space is a major consideration. Three pretentious hi-fi dwarfs!

Firstly, the Questar MM was fed by signals of the VinylMaster Silver being
mounted in a Vivid One tonarm, and served a complete Heed setup consisted of pre- and power amps and speakers. It is a very fine combination reaching well beyond one would expect by simply adding prices of the components. Speed and plasticity, along with the delicate resolution of the Gyger tip lead to a cleanly explored acoustic stage, being provided with details in abundance. Stunning!
As an alternative, the standard [wall-wart] power supply can be swapped for the Q power supply (strongly recommended). Here we go with a Questar QN MM which can be exchanged for a Quasar. This up-grade policy offers the possibility for one to start off small, and "sneak upwards" step by step according to demand and bank account.

The Heed Quasar comes with the Q power supply by nature, and accepts the signals of MC cartridges. Adjustment is done by jumpers - unusual but sensible. For doing that,
the Quasar must be screwed up, though. Once getting inside, the excellent  built is to be stressed.
The Quasar already shows in MM area what a beefy PSU can bring along. The circuit delivers more sustained dynamics, and shades it off much more precisely. Being played in this configuration, all of a sudden the Ortofon VinylMaster Silver leaves no desire for a »bigger« cartridge. The Quasar takes even a Decca with ease, and copes with its immense dynamics almost faultlessly.

For MC, I served him EMT HSD6, Ortofon SPU Royal N and van den Hul MC One, and, once again, I can attest my respect to this little fellow. Spacious panoramic pictures get extracted from the signals by the Quasar - easy-going, free of strain, authoritive, and smooth, with a precise inner tidiness. Nicely shining, intesive tonal colours is a distinctive mark of both Heeds, albeit a bit more of the Quasar. For cost-conscious vinyl fans, they are no longer just insider tips but really hot recommendations!

The Heed Audio Modular Amplification System reviewed by Paul Messenger

Issue 30 (March 2004)

What this cute little combo does well, it does very well indeed. There's little evidence here of the mid-band congestion and thickening that is found in many amplifiers, especially those built from solid state components. And while I wouldn't describe the Luna/Canopus as thermionic in character, it clearly manages to avoid many of the solid state vices. Partly to check out bass end of things, I hooked up some monstrously large Tannoy Yorkminsters, a 100-litre reflex-ported enclosure with a
12-inch Alnico magnet Dual Concentric, and was impressed at how clean and firm the bottom end sounded here. ...The mid-band in particular possesses good transparency and depth resolution, and the sound as a whole is notably free from any shut in boxiness. The dynamic range is good, and dynamics themselves are quite expressive,
if a little soft and lacking in tension. Decent levels of loudness could be achieved, even with relatively insensitive speakers like the Leema Xens.

Checking out the vinyl stages showed that both Quasar and Pulsar had broadly similar characters to the Luna/Canopus combo, and that the two-boxer is clearly superior to the single box Pulsar in terms of dynamic authority and precision.

I was spinning a familiar favourite, the Grateful Dead's acoustic 'Reckoning' set, and found myself  sucked into focusing on Garcia's guitar much more intently than usual, and my partner actually started dancing along as she came into the room. Which rather neatly sums up the way this Heed combo transcends mere issues of sound quality and simply gets you into ther spirit and emotion of the music itself.

For a measly 500 DM hails the beer-budget nirvana! That is where the external power supply designed by Heed Audio catapults the Planar 3 to. Just like the Lingo with the Sondek, this Hungaro-Blackbox lifts the Rega into a higher league – although, and this is the subtle difference, it does it for 1/5 of the price of a Lingo... This external power supply will develop into a dangerously piquant option: audiophile Viagra for the Planar 3 and a challenge to all the higher-ranking Rega record decks at the same time.