Audacious Audio

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Thomas J. Norton Posted: Nov 08, 2010 Published: Jan 08, 1994 0 comments
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 ground—two 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.
Thomas J. Norton Posted: Oct 01, 2010 Published: Jan 01, 1994 0 comments
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.
Jack English Posted: Apr 15, 2014 Published: Aug 01, 1993 2 comments
893count.250.jpgWhile Clearfield Audio may be a new name to many of you, it represents the marriage of two well-established members of the high-end community: Counterpoint and designer Albert Von Schweikert. Counterpoint had been working to add speakers to its product lineup for some time. The partnership with Von Schweikert, whom Stereophile readers will remember as the designer of the Vortex Screen favorably reviewed by Robert Harley in July 1989, fills out Counterpoint's high-end product line from source—the company showed a CD transport at the June 1993 CES—to speaker.

The Metropolitan
The developmental history of Vortex speakers provides a meaningful framework for the design of the Clearfield offerings, especially the Metropolitans, or Mets. Like the Vortex designs, the Mets are three-ways with transmission-loaded bass. Like the Kevlar Reference Screen (reviewed by Robert Greene in The Abso!ute Sound's "double-issue" 83/84, December '92), the Mets use Kevlar-coned midrange units from Focal that cover a broad range from 125Hz to 2kHz. What's dramatically different is the overall driver layout.

Martin Colloms Posted: Jul 20, 2012 Published: Apr 01, 1993 0 comments
Owning a powerful tube amplifier is like owning a classic automobile. Great pleasure may be had, but ownership involves a little more care and maintenance than usual.

Jadis, an audiophile company specializing in all-tube amplifiers and operating out of a small French town, has enjoyed a good reputation for some years, even if some of its models have suffered from the reliability problems that occasionally afflict the largest tube amps. Another problem area is that of power consumption and heat output. In common with class-A amplifiers and high-bias A/B types, including solid-state models, larger tube amps give off substantial heat. The Defy-7's 240W idling consumption may or may not be welcome, according to your location and the season.

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.

Dick Olsher Posted: Nov 21, 2012 Published: Jan 01, 1993 0 comments
In its comparatively few years in the marketplace, the line-level preamplifier appears to have established commercial parity with its full-function big brother. That this was inevitable was clear as far back as the mid-'80s. The advent of the CD and the proliferation of digital sources argued for a modular approach to preamp design. In such an environment, line-level sources (eg, DAT, CD, even analog tape) deserve special attention.
Dick Olsher Posted: Jul 18, 2013 Published: Nov 01, 1992 1 comments
Designer Dr. Roger West got his first taste of electrostatic transducers many years ago during a stint with Janszen (remember the Janszen tweeter?). To realize the potential of the full-range electrostatic loudspeaker (ESL), he and Dr. Dale Ream formed a new company dedicated to ESL research and development. West describes this company, Sound-Lab Corp., as "the electrostatic speaker specialists."
Corey Greenberg Posted: Aug 29, 1998 Published: Aug 29, 1992 0 comments
I think I've finally figured out the secret of Stereophile's success. You, cherished reader, don't read this mag because it's chock full o' reviews of tantalizing audio gear (even though it is). And you don't read this mag because JA and RL strive so hard to keep the literary quotient as hi as the fi (even though they do). And I know you don't read this mag cuz trusting yer own sensory input is a mighty scary proposition indeed so you look to Stereophile as to a Holy Bible that eases your Earthly burden by telling you, Ah say Ah say TAILING YEW what to buy (do you?).
Robert Harley Posted: Jun 07, 2010 Published: Feb 07, 1992 0 comments
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying interpretations of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
John Atkinson Posted: Nov 29, 2011 Published: Sep 01, 1991 1 comments
To judge from the $6400 Mimesis 8, Goldmund walks its own way when it comes to power amplifier design. High-end solid-state amplifiers from US companies like Krell, Mark Levinson, Threshold, and the Jeff Rowland Design Group marry massive power supplies to large numbers of output devices (these often heavily biased to run in class-A), built on chassis of such nonmagnetic materials as aluminum. By contrast, the Mimesis 8 has a magnetic (steel) chassis, and uses a relatively modest power supply, that for each channel based on two main 4700µF reservoir capacitors. The 8 offers just two pairs per channel of complementary output MOSFETs (Hitachi K134/J49). These carry a modest bias current of around 80mA total.
Robert Harley Posted: Jun 08, 2009 Published: Dec 08, 1990 0 comments
The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?
Arnis Balgalvis Posted: May 06, 2010 Published: Jan 06, 1990 0 comments
Ain't technology grand! That's what I was thinking while driving to work this morning. Sure, the rain was coming down in buckets, but there I was sitting comfortably in a warm car, listening to music while making tracks at 50mph. A long way from horse-and-buggy days.
Larry Archibald Posted: Aug 12, 2006 Published: Nov 12, 1989 0 comments
John Ötvös, the father of Waveform Research Inc. and The Waveform Loudspeaker, hesitates not at inviting ultracritical examination: "The Waveform is the most accurate, the best, forward-firing loudspeaker in the world." Period. Reviewers, of course, welcome such statements, and I'll be examining that one, but I'll also try to answer the inherent reviewing question of whether the Waveform is a good place for you to park $9800 on your way to "the highest of high-end sound" (that was our slogan for the first Santa Monica High End Hi-Fi Show).
Dick Olsher Posted: Feb 08, 2008 Published: Jul 08, 1989 0 comments
When it comes to loudspeaker drivers, Dynaudio has earned an enviable reputation for quality and reliability. To use an automotive analogy, they are the Mercedes Benz of the driver universe. If you're a speaker builder, the odds are that you have already experimented with these drivers. And even if you're not a speaker builder, it's quite possible that your speakers use Dynaudio drivers. After all, some of the finest speaker systems in the world do. A case in point is the Duntech Sovereign, which single-handedly embodies almost the entire Dynaudio catalog.
John Atkinson Posted: Jan 02, 2011 Published: Jun 02, 1989 3 comments
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 finish—an 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.

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