About Israel Yino

Israel Yinon (Born in January 11, 1956 in Kfar Saba , Israel ) is a world renowned German, international conductor.

Yinon studied conducting, music theory and composition at the Rubin Academy of Music in Tel Aviv (1981-1984) and at the Music Academy in Jerusalem (1985-1988) among others, Noam Sheriff and Mendi Rodan. In May 1991 he conducted the nationwide watch live opening concert of the newly founded Germany transmitter culture . In 1992, he first conducted the Brno Philharmonic Orchestra, with whom he subsequently completed a tour of Germany and his debut CD with the recording of the symphonic works of Viktor Ullmann's recorded. This CD was awarded the Prize of the German Record Critics' award. Have since conducted a number of recordings for Decca Yinon, German Grammophon, Koch, CPO and other labels appeared.

Apart from the classical repertoire, Yinon devoted mainly to the discovery of forgotten and unknown works. He sat down in particular in the Third Reich as " degenerate "forbidden composers like Hans Krasa , Pavel Haas and Erwin Schulhoff one, but also for representatives of German Expressionism forgotten how Heinz Tiessen and Eduard Erdmann . Moreover, he has established himself as a lawyer living musical composer name. For example, he brought the opera The Royal Game of Violeta Dinescu for the premiere (at the Schwetzingen Festival 1995).

Israel Yinon served as guest conductor with numerous orchestras, including the BBC Symphony Orchestra, the Jerusalem Symphony Orchestra, the London Royal Philharmonic, Royal Antwerp Flemish Philharmonic, the NDR Radio Philharmonic, the Vienna Symphony and the German Symphony Orchestra Berlin.

Yinon interpretations are marked by faithfulness, sensitivity and precision craftsmanship. At the same time his conducting style is characterized by vitality and temperament.

Maestro Israel Yinon and his HA-160D

Dear Burson Audio,

I have had your HA-160D for 2 months now. While it is a 3 function in 1 unit (with DAC, Pre-amp and headphone amplifier), please allow me to focus my feedback on how I feel about the DAC and the Pre-amp -- as I am used to listening to music in a full system and less with headphones.

First of all, the level of both the DAC and the Pre-amp in your HA-160D is very high indeed; therefore, I am using it as my main DAC and Pre-amp: music is alive, sounds natural, with very good space-feeling; dynamics are good, no extra colouring... seemed to be on the right point between being analytic and warm & relaxed sound. This is extremely important when listening to classical music -- the performance almost never gets on one's nerves; the highs are always present but never overdone, while the sound stage is realistic. This all means that you achieved a very good balance between the components. Excellent!

Like in every true first rate electronics, much depends on the source (the CD-recording and the player quality): your HA-160D reacts sensitively to the exchange of digital cables, which for me is a very good sign indeed; one should experiment with this by all means. Moreover, I can warmly recommend everybody to use an enhanced SPDIF-signal, if possible: The DAC supplies a fantastic sound when being fed by the right source. I can imagine that if your clients understand the advantages of using an enhanced SPDIF-signal (your Burson clock, for example?), they will get the very best out of it. Even shutting off my CD transporter's display has a nice effect on the entire sound - which becomes rounder and quieter, nicer. So once again, the unit is excellent, and requires the best possible source.

I have done some further experiments with your HD-160D, all of which seemed to be very successful indeed. Such for example, I fed the Pre-amp (the analogue inputs) with a good analogue signal (taken from my NONOS CD player line-out) and I was surprised to hear how good the Pre-amp is by itself: very natural, with no restrictions; an excellent match for my NONOS which by itself is surely a good sources for analogue signal (I would have loved to feed the HA-160D with an original analogue signal from a Tascam or Revox reel-to-reel recorder, but I am afraid I can't put my hand on any of them nowadays...).

Staying in our time, now and today: the other experiment which made me extremely happy was to listen to a live concert recording which I made (conducted) about a year ago, and which was done on Roland's R-09 HR (Edirol) recorder, in high resolution (24/96). Never before I was able to enjoy listening to them at home so much as now. Indeed, I am so much impressed by the SPDIF-In of your HA-160D, it is my best personal experience with retrieving a SPDIF signal through a USB 2 port. The WMA files sound indeed complete and trustworthy. I am absolutely delighted with it.

I didn't try to professionally monitor a CD-master (16/44) on your HA-160D; for this I will probably keep using my old DAC/Pre-amp combination, with its old 16/20 bit BB PCM63P-Y chips, SM5847 Digital Filter -- while the signal is completely bypassing the receiver, etc. (and including your Burson 4x discreet Op-amps behind the DAC's chips!!). But this combination is extremely analytical and not meant for regular listening. Therefore, for listening and enjoying music, I am using nothing other than your wonderful HA-160D as the heart of my listening system.

Thank you for this wonderful creation.

Sincerely,

Maestro Israel Yinon

Maestro Israel Yinon and his PP-160

You might recall that I purchased from you 4 picks of your excellent Burson Discrete Opamp, which turned to be the best I ever found for the I/V position (directly behind the PCMs) in my DAC. I am using it with a set of genuine BB PCM63P-Y (the highest selection level, to be found in Yamaha's ProAudio gears) and your Burson Discrete Opamp is a true celebration within this partnership!

Monitoring my own studio recordings has always been a big responsibility: With this combination it became also a true pleasure. I
became therefore very curious to try your brand new Burson's Booster. Actually I thought to use it as a second Power-Amp, but let me tell you already now: Your Burson Booster is amazing!! Congratulations for a listening revelation!

It plays extremely musically & realistic: It delivers the most natural overtones and excellent soundstage & room acoustics, one hears where the musicians are sitting, neither the violins nor woodwinds or brass sound compressed or artificial... The dynamic range is very accurate and the music feels like it is "live". Wonderful!

Indeed, our strong and once well modified Parasound HCA-1200 II Power-Amp at home, has undeniably no chance to reproduce these natural qualities; it is already out of the HiFi rack & the all system. Indeed, I had to "compare" them only shortly, and your Burson Boofers superiority became out of any question or discussion. I am already in love with it, and not only me: My wife (an excellent clarinettist) came to the room, listened to it for few seconds and said: "I don't want to listen to anything else". A second check, done 24 hours after the first one, stunned both of us even more: Your Booster sounds now even warmer, fuller, rounder, while the articulation is always clear, the transparency is magnificent, the performances are full of details.

48 hours after having your Burson Booster, even if I deactivated the Aktive Subwoofer, the "feeling" for deep Bass is always there and nothing is missing. If anything, then I feel there is now more bass then before…

As a HiFi "freak" since more then 20 years now, and as a conductor who is spending a lot of time in the recordings studios, I don't remember ever listening to a Power Amp that is priced so modest but sounds so overwhelming realistic.

I would also like you to know that I completely share your philosophy & mission: A First Class HiFI Product must not cost one "an arm and a leg"! People should be able to listen to recorded music at home, without having to go into debts. With your extremely well done products, you are doing more then a good deed.

Yours, with gratitude and appreciations,

Maestro Israel Yinon.