Unity Audio Signature 3 Specifications
Sidebar 3: Specifications
Description: Two-way, three-driver, sealed-box, floorstanding loudspeaker. Drive-units: two 6.5" polypropylene-cone woofers, one front-firing, one rear; one 1" cermaic-coated silk-dome tweeter. Frequency response: 39Hz20kHz, ±2dB. Sensitivity: 86dB/W/m. Nominal impedance: 5 ohms. Maximum power handling: 300W.
Dimensions: 9.25" W by 4" D by 38" H. Weight: 33 lbs.
Standard finishes: walnut, black oak.
Unity Audio Signature 3 Measurements
Sidebar 2: Measurements
Other than impedance, all acoustic measurements were made with the DRA Labs MLSSA system and a calibrated B&K/DPA 4006 microphone. To minimize reflections from the test setup, the measuring microphone is flush-mounted inside the end of a long tube. Reflections of the speaker's sound from the mike-stand hardware will be sufficiently delayed not to affect the measurement.
The Unity Audio's sensitivity was about average at a calculated 86dB/2.83V/m.
Unity Audio Signature 3 Review System
Sidebar 1: Review System
The CD player used for my debut Stereophile review was a Kinergetics KCD-20B that I've modified somewhat. Recently, I've been using the best preamp in the world: no preamp at all. What? I don't listen to vinyl? I must not be a real audiophile. The power amplifiers currently in my system are Nelson Passdesigned 15W single-ended "Zen" monoblocks (footnote 1).
Unity Audio Signature 3 Page 2
The midrange was slightly low in level. It was on the first pair also, but on these it seemed to be slightly more so. This suckout is not serious; it just showed up because the speakers are so smooth in most other respects. Of the many wonderful tracks on Dorian's Sampler II, one taken from J.S. Bach's Cantata BWV63 (DOR-90113), is the real torture test for components in my system. The amazingly rich presentation of all the different instruments, as well as the enveloping feel of the different halls on all the tracks, led me to use this disc as a reference.
Unity Audio Signature 3
Squeezing the Music...
This essay first appeared in the May 2005 Stereophile eNewsletter. But as the opinions and comments are still relevant in 2014 and in some ways the phenomenon of over-compression in recorded music (footnote 1) is just as bad, I thought it worth republishing.John Atkinson
I write these words mere hours after returning home from Home Entertainment 2005, the Show cosponsored by Stereophile magazine that took place from April 28 through May 1 at the Manhattan Hilton.
Jared Sacks: DSD Present and Future Page 2
Sacks: He goes more into the technical side. To me, DSD's superiority has to do with emotion, depth, and how the sound leaves the speaker. It's not a block anymore in the way it dissipates. When you listen to PCM, you can literally hear it as a block of sound coming out of the speaker. That doesn't happen with DSD. There's air around the sound.
Jared Sacks: DSD Present and Future
Some months back, SACD and DSD champion Jared Sacks, founder of Channel Classics, stopped by Casa Bellecci-Serinus in Oakland for an extended chat about the history of his label, recording in DSD, and his new NativeDSD.com download site. I started our conversation by asking Jared to share his history with music and the industry with Stereophile:
Jared Sacks: I'm an American who has been in Holland for over 37 years.
Recordings of June 1986: The First Private Music Releases
Sanford Ponder: EtoshaPrivate Music in the Land of Dry Water
Private Music 1101 (CD/LP)
Patrick O'Hearn: Ancient Dreams
Private Music 1201 (CD/LP)
Jerry Goodman: On the Future of Aviation
Private Music 1301 (CD/LP)
Ryuchi Sakamoto, Eric Watson, Joachim Kuhn, Eddie Jobson: Piano One
Private Music 1401 (CD/LP)
The four works in Private Music's initial release represent such a consistently high level of creation that it is remarkable to see them released all at once.
You Really Can Help Save the Stereo
Save the Stereo, a Web-based project dedicated to developing and promoting the best ideas for leading the next generation of music lovers to component-based high-fidelity, launched at the start of the year. Although we have seen a number of prior organizations dedicated to the cause of spreading the gospel of high performance audio wither and diesee John Atkinson's 2005 essay on the subjectthis one is different.