Kalman Rubinson

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Kalman Rubinson Posted: Sep 14, 2012 0 comments
Late in May, Dolby Laboratories held a two-day press event, Fidelity Forum 2.0, to announce a new feature added to the production tools included in their flagship codec, TrueHD. While I could not attend, Jason Victor Serinus reported all the details for Stereophile.
Kalman Rubinson Posted: Jan 04, 2013 3 comments
NAD's T 187. Another pre-pro? And not inexpensive at $3000! Why do I care?

First of all, NAD has come to the forefront of established full-range manufacturers as innovators in digital audio. From their original digital preamp, the 118, which I reviewed in the July 1998 issue; to the M2 Direct Digital amp, reviewed by JA in March 2010; to the Masters M51 high-resolution DAC, reviewed last July by Jon Iverson; and their Masters M50 and M52 music-streaming devices, NAD has never simply repackaged available chips and modules, but has always gone their own way.

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Kalman Rubinson Posted: Mar 18, 2013 8 comments
Growing up as an audiophile in the 1950s, I always aspired to owning Marantz equipment, and finally attained that status when, late one night in 1974 in Greenwich Village, a friend found a Model 8 amp sitting on a pile of discards on a curb. He quickly ran for his car, and scarfed up the amp and a pair of Acoustic Research AR1 speakers. All turned out to be in perfect working order, though their appearance reflected their history of ill-use. The speakers went into his machine shop—but I got the Model 8! Few products have ever given me so much pleasure and pride; Marantz will always occupy a warm spot in my heart.
Kalman Rubinson Posted: May 09, 2013 2 comments
Yes, more Oppos. First off, let's put aside the expected superiority of the D/A conversion and outputs of the BDP-105 ($1199) and state that the BDP-103 ($499) is itself no slouch in these departments. In two or many channels, the '103 was good enough to let me distinguish among various high-resolution media, and to provide me with satisfying enjoyment of music in even the best of systems.
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Kalman Rubinson Posted: Jul 09, 2013 3 comments
Sometimes, things happen so fast it's almost unsettling. DSD is the high-resolution recording format used on SACDs and I closed my May column with the expressed hope that the exaSound e18 multichannel DAC would eventually be able to decode DSD data, that Oppo would implement DSD streaming in its universal players, and that I'd be able to get my hands on a working trio of Mytek DSD DACs. I didn't expect that, even before that issue went to press, I'd have to add a footnote (p.61) indicating that stereo DSD streaming was a reality for the exaSound e18, and that Oppo had made available "test" firmware to empower their universal Blu-ray players for stereo and multichannel DSD. On March 26, Oppo publicly announced that this DSD capability was part of the comprehensive "Public Beta Test Release" made available that day. Then, with the May issue not yet hitting the streets, I got a proper multi-Mytek setup. I had a lot of catching up to do.
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Kalman Rubinson Posted: Sep 13, 2013 1 comments
Recently, my wife and I made a trip to Europe, where we heard some great music in some great halls. Those concerts reinforced my already strongly held opinion that the acoustic of the venue is a major determinant of the sound of music heard in that venue, and that each space has its own sound. One evening in Amsterdam, we heard Iván Fischer conduct the Royal Concertgebouw Orchestra in their own hall, the Concertgebouw, in a concert that underscored this interaction of performance and place.
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Kalman Rubinson Posted: Nov 08, 2013 2 comments
Make It Simple. . .
Ah, for the old mono days. I remember assembling my first audio systems in my early teens and as a novice—things were easy. My first amp had four RCA input jacks, each clearly labeled and corresponding to an identically labeled setting on the input selector switch. There were screw-down speaker connectors for 4, 8, and 16 ohms, and ground. Tape output was defaulted to whatever input I was listening to. The amp had but four knobs: Input Selection, Volume, Bass, and Treble. And although it would seem almost impossible to go wrong, I did exercise focus and care as I tended to my first setup.
Kalman Rubinson Posted: Jan 04, 2014 0 comments
In my November 2013 column, I looked at the NuForce AVP-18 multichannel preamplifier-processor ($1095) and the exaSound e28 multichannel DAC ($3299), each of which offers fresh options in its category that break with the predictability of mainstream products. That predictability is the result of market analysis that supposedly tells manufacturers which features users want most. However, it's just as true that users can buy and choose among only those components and features already offered. Many of us are more peculiar in our demands—what's generally offered doesn't always fit our needs. This month, I look at an unusual pre-pro and a multichannel digital equalizer at opposite ends of the price spectrum.
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Kalman Rubinson Posted: Mar 13, 2014 5 comments
After going so far off the beaten path in my last column, with examinations of digital signal processing (DSP) from miniDSP and Illusonic and multichannel in-room measurements, this month I take a look at and listen to a new preamplifier-processor from Yamaha, along with its companion multichannel power amplifier. The Japanese company (footnote 1) was a pioneer in digital signal processing (DSP) and multichannel sound, but for a long while now has been swimming in the mainstream of audio/video receivers and home theater.
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Kalman Rubinson Posted: May 06, 2014 2 comments
I'm sure that the larger manufacturers were displaying new audio/video receivers and preamplifier-processors at the Las Vegas Convention Center last January, during the 2014 Consumer Electronics Show—but except for dinner, I didn't get out of the Mirage, where I slept, or the Venetian Tower Suites, where the high-end audio displays were concentrated. Still, there were new developments to report; see Stereophile's almost live on-line coverage.

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