Digital Processor Reviews

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Kalman Rubinson Posted: Feb 23, 2003 0 comments
Some people believe that high-end audio is mostly fluff whose cost, compared to standard professional studio electronics, is not justifiable. Moreover, they argue, if the music has been piped through any number of studio devices before it gets to your home, you can't expect to get more out of it than the studio devices will pass. Just as the argument is made about the final 6' of power cord, how can one Over-The-Top device make up for the foibles of those that precede it?
Michael Fremer Posted: Dec 15, 2002 0 comments
Computers and vacuum tubes go together like Trent Lott and flyaway hair, right? The last time filaments glowed in computers was during the 1960s, when a computer was a building. I remember laughing at the ponytailed computer-science dweebs back then, who spent their college days playing nursemaid to a football field's worth of electronics capable of little more than adding two plus two. Chained to a computer half the day, as most of us now are, guess who had the last laugh?
John Atkinson Posted: Jul 20, 2002 0 comments
Such is the pace of development in digital technology these days that it is hard not to become convinced that digital playback is a solved problem. The measured performance aberrations are so low in absolute level—and, more important, so low compared with the typical threshold of human hearing—that it is difficult to see why digital components should sound different from one another.
Sam Tellig Posted: Apr 18, 2002 0 comments
It was 1988. What to do about digital?
Jonathan Scull Posted: Dec 03, 2001 0 comments
The Boulder 1012's is a line-level preamplifier and DAC in one box. Its design and build qualities are icons to elegant engineering know-how. No screws show on the rectangular box of large but not massive proportions, for example, which is all done up in matte aluminum and set off with a few highly polished stainless-steel buttons. The chassis construction uses tongue-and-groove techniques. The sides of the 1012 benefit from styling cues found on Boulder's newer amplifiers. As you can see from the photograph, the look is both elegant and hi-tech in a way very few other manufacturers manage.
Sam Tellig Posted: Feb 22, 2001 0 comments
Sorry to empty your wallet this month, but here's a must-have if you want to get the most from your upsampling MSB Link DAC III: Monarchy Audio's Digital Interface Processor 24/96 (DIP for short).
Jonathan Scull Posted: Feb 01, 2001 0 comments
What's it take to compete on the bleeding edge of digital? Foresight, commitment of resources, and lots of money. Of course, it's all fundamentally about money, so we shouldn't be surprised that the audiophile's emotional needs aren't paid much respect by the large international manufacturing and marketing concerns stalking the earth today. Megaglom vs Cockroachacus. [Sigh] Where are those pesky miniature princess twins when you need 'em?
Jonathan Scull Posted: Jan 25, 2001 0 comments
The dCS Purcell is named after Henry Purcell, the English composer, organist, bass, countertenor who was born in 1659 and died in, alas, 1695. It's a digital/digital converter intended for consumer use, as opposed to the less elegantly packaged pro-audio version, the dCS 972, that I reviewed in February 1999. Both devices increase the sample rate and/or word length of the output from linear PCM digital audio sources like CD or DVD up to a maximum sample rate of 192kHz and a word length of 24 bits. According to the extensive documentation, this is achieved by "using extremely powerful and accurate digital interpolation filters, which yield an output signal having negligible levels of distortion."
Robert Deutsch Posted: Jan 25, 2001 1 comments
At the Consumer Electronics show in Las Vegas in January 1999, Mark Schifter, erstwhile president of Audio Alchemy, was handing out a press release announcing what seemed like a groundbreaking product from his new company, Perpetual Technologies. The product was the P-1A, a digital-to-digital processor that would do resolution enhancement, loudspeaker correction (amplitude and phase), and room correction—all for less than $1k. It sounded too good to be true.
Robert Deutsch Posted: Jan 04, 2005 Published: Dec 05, 2000 0 comments
It's hard to know what the best strategy is for digital upgrades. Maybe you bought your first CD player when you became convinced that the format was going to succeed, and it seemed that players were about as good as they were going to get. Some time later, you tried one of the new outboard digital processors, and the sonic improvement was such that you just had to have it. Then you replaced the player itself with a CD transport, so you could benefit from improvements in servo control and digital output circuitry. At this point you were generally happy with your digital front-end—until you read about how 16-bit DACs (which is what your processor had) were old hat now that 20-bit DACs were available. But alas, your processor couldn't be upgraded, and was worth maybe 30% of what you'd paid for it. So you took a loss and bought a new-generation digital processor, and things were fine and dandy...for a while.
Kalman Rubinson Posted: Sep 08, 2000 0 comments
Prelude
I fell in love with the original Link DAC, as was obvious from my review in the January 1999 Stereophile. I said that "the Link redefines entry into high-quality digital sound," as it provided excellent sound and 24-bit/96kHz conversion for the remarkably low price of $349. It is as firmly ensconced in Class C of "Recommended Components" as it is in my weekend system, where it tames the digital signals from my DMX receiver and my trusty old Pioneer PD-7100 CD player.
Kalman Rubinson Posted: Jan 02, 2005 Published: Jul 02, 2000 0 comments
HistoriCAL Introduction
California Audio Labs is a child of the digital age. Originally, they made a noise by offering modified CD players with tube output stages, a practice for which I found no intellectual justification. On the other hand, the results were successful, even if (probably) due to the CAL units' softening of the harshness of early digital sound.
Michael Fremer Posted: Jul 31, 2009 Published: Jun 01, 2000 0 comments
Can a piece of studio gear find happiness on an audiophile's equipment stand? More important, can an audiophile derive satisfaction from its sound?
Kalman Rubinson Posted: Dec 02, 1999 0 comments
Unlike the imposing mbl and Burmester DACs that I review elsewhere in this issue, the Mark Levinson No.360 is New England conservative in appearance. Its operation was simple to master despite the sophistication and flexibility on tap. Flanked by Fasolt and Fafner, the Levinson No.360 seemed as amiable as Freia.
Kalman Rubinson Posted: Apr 01, 2007 Published: Dec 01, 1999 0 comments
My first exposure to Burmester electronics was some years back at a New York Hi-Fi Show, where they were powering a pair of B&W 801s and impressed the hell out of me. But Burmester's distribution seemed sporadic and the prices beyond my consideration, so I put them out of my mind.

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