Audacious Audio

Sort By: Post Date | Title | Publish Date
Robert Harley Posted: Sep 07, 2010 Published: Oct 07, 1994 0 comments
The arrival of the Mark Levinson No.30 digital processor more than 2½ years ago marked a turning point in digital-audio reproduction. Although the No.30's $13,950 price tag put it out of reach of all but a few audiophiles, its stunning performance suggested that much more musical information was encoded on our CDs, waiting to be recovered by better digital processors. Further, it was inevitable that this level of performance would become less expensive over time. I was more excited by the No.30 than I've been over any other audio product. In fact, its musical performance was so spectacular that it alone occupied the Class A category in Stereophile's "Recommended Components."
Michael Fremer Posted: Dec 07, 2012 13 comments
Mark Levinson founded Mark Levinson Audio Systems in 1972, but sold it, and the right to market audio gear under his own name, to Madrigal Audio Laboratories, then owned by the late Sandy Berlin, in 1984. Harman International bought Madrigal in 1995. As well as Mark Levinson, Harman's Luxury Audio Group now also includes digital processing pioneer Lexicon, speaker manufacturer Revel, and JBL Synthesis. The Mark Levinson brand is now headquartered in Elkhart, Indiana, at the Crown Audio facility, another Harman-owned brand. The No.53 ($25,000 each; $50,000/pair) is Mark Levinson's first new Reference series monoblock since the No.33, way back in 1993, when Madrigal owned the company. Like other Mark Levinson products, it is manufactured at an independent facility in Massachusetts.
Larry Greenhill Posted: Nov 25, 2015 2 comments
In July 2000, I reviewed the Mark Levinson company's first integrated amplifier, the No.383, and found that its sound had "clarity, transparency, liquid mids and highs, with dynamic contrasts." Also evident were the No.383's power-output limitations, the result of building large power supplies and heatsinks into a single case that had to fulfill multiple functions. Still, the No.383's price of $5900 was much less than the total cost of the equivalent in Mark Levinson separates. Later, in April 2007, I reviewed a similarly powered integrated amplifier, Bryston's B100-DA ($3195), which included a built-in DAC.
Michael Fremer Posted: May 25, 2016 1 comments
Marten is a small Swedish loudspeaker manufacturer with great aspirations, some of which the company has largely met. Leif Mårten Olofsson founded Marten and designs the speakers, while brother Jörgen Olofsson runs the business as CEO—a division of creative and administrative labors similar to the working relationship between David and Norman Chesky, the founders of Chesky Records and HDtracks.
Michael Fremer Posted: Oct 23, 2004 Published: Oct 01, 2004 0 comments
Back in the late 1980s, when I was writing for The Abso!ute Sound and couldn't afford any of the audio gear I was reviewing, my system consisted of an Oracle turntable with Magnepan unipivot arm, a pair of Spica TC-50 loudspeakers, and a heavily modified Hafler DH-200 power amp and DH-101 preamp. It was a fun system that imaged like hell, but my fondest audio memories of that time were of visiting fellow TAS reviewer Dr. Michael Gindi, who lived on Manhattan's West End Avenue, and listening to his mbl speakers. (With his shrink's paycheck, he could afford them.)
Michael Fremer Posted: Oct 17, 2008 0 comments
Don't be confused by the MBL 6010 D's oddly baroque, even retro looks. Behind all the glitz—the oversize, perfectly finished, black-lacquered faáade; the two big, solid brass knobs plated with 24-karat gold; the ornate lettering; and the incongruous digital volume display—resides a thoroughly modern, remote-controlled, unusually versatile, and well-thought-out solid-state preamplifier. Not that the 6010 is a new design. It's been around for a long time, and the current "D" iteration is at least five years old.
John Atkinson Posted: May 27, 2014 Published: Jun 01, 2014 6 comments
A year or so ago, in my review of the Pass Labs XP-30 preamplifier, I wrote that the heart of an audio system is the preamplifier, in that it sets the overall quality of the system's sound. But it is the power amplifier that is responsible for determining the character of the system's sound, because it is the amplifier that must directly interface with the loudspeakers. The relationship between amplifier and loudspeaker is complex, and the nature of that relationship literally sets the tone of the sound quality.
Michael Fremer Posted: Apr 06, 2012 8 comments
Take a casual look at the Mk.II edition of MBL's Reference 101E Radialstrahler loudspeaker, and you won't immediately see what's new compared with the original version, which I reviewed in October 2004. But the Mk.II has a shorter, sleeker bass cabinet, designed to, among other things, slightly lower the stack of omnidirectional drivers it supports. While the many other major revisions to this familiar and fascinating loudspeaker can't be seen, it's fair to say that, from the ground up, the Reference 101E Mk.II is a new loudspeaker in design, if not in concept.
Michael Fremer Posted: Mar 19, 2012 3 comments
As large as a small file cabinet and weighing 223 lbs, MBL's most powerful amplifier, the Reference 9011, is a tour de force of electronics design and implementation that will set you back $53,000 if you're a single-ended stereo enthusiast, or $106,000 if you like pure balanced mono.
Robert Harley Posted: Apr 27, 2012 Published: Mar 01, 1993 5 comments
There are as many ways of designing a digital-to-analog converter as there are engineers. One approach is to select parts from manufacturers' data books and build the product according to the "application notes" provided by the parts manufacturers. This is the electronic equivalent of a paint-by-numbers kit.

A more creative engineer may add a few tricks of his own to the standard brew. Bigger and better regulated power supplies, careful circuit-board layout, tweaky passive components, and attention to detail will likely make this designer's product sound better than the same basic building blocks implemented without this care. Indeed, the vast range of sonic flavors from digital processors containing very nearly the same parts attests to the designer's influence over a digital processor's sound.

John Atkinson Posted: Apr 13, 2009 0 comments
It's been a while since I auditioned a Meridian CD player in my system. I had enthusiastically reviewed the English company's groundbreaking Pro-MCD player in early 1986, and over the years had kept up with the progress they were making in digital playback, either through my own reviews or by performing the measurements to accompany reviews by other Stereophile writers. The 508-24 player, reviewed by Wes Phillips in May 1998, was one of the finest digital products of the 1990s, I thought. But when Meridian began promoting surround sound and DVD-Audio at the turn of the century, their goals became somewhat incompatible with my own. Yes, I can appreciate what surround playback can do, but my own musical life is still solidly rooted in Two-Channel Land.
John Atkinson Posted: Dec 22, 2002 0 comments
"Is that it?" I asked.
Michael Fremer Posted: Jul 21, 2016 10 comments
Simaudio saw disc-based digital audio in its rear-view mirror at least as far back as 2011, when it introduced the Moon Evolution 650D and 750D—two iterations of what it called a "digital-to-analog converter CD transport." These were actually multiple-input CD players, but Simaudio was evidently so eager to distance itself from the spinning disc that it went with a product category that, in spite of its cumbersome, run-on name, drew a clean line between the disc-reading and signal-processing functions—while bestowing upon the former second-class citizenship.
Jon Iverson Posted: Oct 07, 2012 7 comments
The audiophile does not pursue music reproduction because it is useful; he pursues it because he delights in it, and he delights in it because it is beautiful. If music were not beautiful it would not be worth knowing, and if music were not worth knowing life would not be worth living.

My apologies for corrupting the well-known statement by French mathematician Jules Henri Poincaré (1854–1912), in which he described his relationship with science and nature. But substituting audiophile for scientist and music for nature, I feel the sentiment expresses what drives many audiophiles to the extremes for which mere mortals often chide us.

Sam Tellig Posted: Apr 25, 2013 Published: Oct 01, 2012 1 comments
In April 1987, Anthony H. Cordesman had mixed feelings about the Mod Squad Passive Line Drive System Control Center. (Read his review here.) Introduced in 1984, the Line Drive offered volume and balance controls, five line-level inputs, and switching and monitoring for two tape decks. You didn't plug it into the wall; it provided no gain. Was it even a proper preamp? (footnote 1)

AHC demurred. "I'm not sure that I'm ready to advise anyone to take the risk of not buying a unit with a top-quality phono stage, no matter how well CD or DAT perform," he concluded, between commenting on Middle East wars.

Pages