Don't have $80,000 to drop on dCS's four-component Scarlatti SACD stack that I reviewed in August 2009, or $17,999 for their Puccini SACD/CD player that John Atkinson raved about in December 2009? Even if you do, the new Debussy D/A processor ($10,999) might be a better fit for your 21st-century audio system. Sure, you don't get an SACD transportor any kind of disc play, for that matterbut the odds today are that you already have a player you like that's got an S/PDIF output that can feed the Debussy.
Externally, the LHH1000 came as a bit of a surprise to these jaded eyes, over-familiar with plain black or brushed-aluminum boxes. Each enclosure is finished in an almost white, anodized finish, with greenish-gray endcaps (made from zinc alloy, I believe) painted with a nubbly, crackle finishan attractively utilitarian styling with shades of military-surplus radio equipment, nicely set off by subdued blue fluorescent readouts. Internally, the units are constructed to audiophile standards. The transport uses Philips's top CDM-1 mechanism, which is fabricated from diecast aluminum, compared with the plastic CDM-4 mechanism which appears in less expensive and less well-specified players. The loading tray, too, which is made from metal, has a reassuringly solid feel to it.
Headphone listening is hot these days, due not only to the ubiquity of the iPod as a music source but also because it is possible to get state-of-the-art headphone playback without having to have stupidly bottomless pockets. A plethora of affordable high-quality headphone amplifiers are available, and high-performance 'phones can be had for a few hundred dollars. Used with a computer or iPod to play uncompressed WAV or AIF files or losslessly compressed FLAC or Apple Lossless (ALAC) files, a headphone-based system can offer the audiophile on a budget seriously good sound.
Thirty years have not diminished the beauty and elegance of Oracle's Delphi turntable. In my opinion, it still ranks among the best-looking turntables ever made. I bought an original Mk.I, used, in 1982, and very positively reviewed the Delphi Mk.V in the December 1997 Stereophile.
In its three decades the Delphi has undergone many upgrades both technical and aesthetic. Not surprisingly, so has the price. The Mk.II Delphi sold for $1250 in 1986; the Delphi Mk.VI with Turbo power supply and dedicated power cord now sells for $8500, which, in today's market, I think is reasonable for what you get. The review sample came with an Oracle/SME 345 tonearm ($3100) and a Benz-Micro Thalia high-output MC cartridge ($1700), for a total cost of $13,300or $11,600 for just 'table and arm.
The old Saab slogan, "Find Your Own Road," was so good that the old General Motors, which once owned Saab, had to kill itjust as the newly revived GM tried, in a "Call It Chevrolet" memo, to kill "Chevy." GM did a U-turn on that one the very next day, but "Find Your Own Road" never returned, and is available for Ayre Acoustics to use. I can't think of a better slogan for a company that I admire almost as much as I do Saab.
Consider this: While Ayre calls its new DX-5 ($10,000) a "universal A/V engine," the disc player doesn't have a coaxial or a TosLink S/PDIF input. That appears crazy to me, but to Ayre, no. They've found their own road.
Show a time traveler from the 1920s an iPad and most likely he'd neither know what he was looking at nor what it might do. Show him a loudspeaker, even one as advanced as Magico's new Q5 ($59,950/pair), and he'd probably know exactly what it was and what it did, even if what it's made of might seem to have come from another planet.
It doesn't take a genius to appreciate the audacity of naming a company after Albert Einstein, the iconic science and math whiz. Clearly, company founder and owner Volker Bohlmeier knew what he was doingthis German brand of boutique electronics has enjoyed worldwide critical and marketplace success since its founding more than 20 years ago.
Compared to the Krell KSA-300S power amplifier that I also review this month, the KRC preamp's design is, at first glance, almost conventional. But its thoroughly high-end internal design has been equally well thought-out and executed. Its main, four-layer, glass-epoxy circuit board is for the audio signal, DC power, and groundtwo layers for the latter are said to minimize noise. The gain stages are pure class-A and complementary. As in the amplifier, the circuit is direct-coupled, with servo circuits controlling the DC offset. The fully regulated power supply is housed in an external chassis. Seven inputs are provided: four single-ended, two balanced, and one single-ended tape. All inputs are line-level except for the optional, single-ended phono stage. (This review will address the line stages; a Follow-Up will discuss the phono stage's operation.) There are three outputs: balanced and single-ended main outputs, and a single-ended tape output.
Ideally, LPs should be played with the pickup stylus remaining tangential (ie, at a 90° angle) to the groovejust as the lacquer from which the LP was ultimately stamped was cut in the first place. Over the years, many attempts have been made to accomplish this. Back in 1877, Thomas A. Edison's original machines tangentially tracked his cylinders, but Emil Berliner's invention of the flat disc put an end to cylinders altogether. In the 1950s, a number of companies marketed so-called "tangential" trackers that used dual arms, based on conventional pivoting arrangements, to change the angle at which the headshell was mounted as it moved across the LP side. In 1963, Marantz introduced the SLT-12, which used a plastic pantograph to move the stylus across the record surface. Garrard's Zero 100 pivoting arm controlled its independently pivoting headshell with a bar that extended from the main bearing of the tonearm.
If you've followed their story here and elsewhere, you probably know that Tokyo's Shindo Laboratory (footnote 1) has a reputation for defying the two most monolithic of all high-end audio commandments.
It was a dark and stormy night. A biting, cold wind cut through Sam's skimpy jacket; ice crystals clung tenaciously to his bushy moustache. As he approached his front door, visions of a toasty-warm, Krell-heated listening room softened the chill. He could feel the glow already; his Krell amp had been on all day, awaiting his return.
Stereophile's founder, the late J. Gordon Holt, always had a thing for horn loudspeakers, feeling that these archaic beasts offered a "jump factor" that could never be rivaled by conventional, direct-radiating designs. A horn drastically increases the efficiency with which electrical power is converted into acoustic power, which means that for a given sound-pressure level, a smaller amplifier can be used compared with a direct-radiator, and that all distortions, both electrical and mechanical, can theoretically be much lower. Yet outside of a small circle of enthusiasts, horns never got much of a following in high-end audio, and as high amplifier power became plentiful and relatively cheap, horns largely disappeared from domestic audio use (except in Japan).
This massive, two-box beauty from Denmark costs $60,000, and I wish I could tell you it wasn't really better in most ways than the already outlandishly priced and sonically superb Boulder 2008. I can't.