Larry Greenhill

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Larry Greenhill Posted: Aug 19, 2011 1 comments
"Larry, you have too many amplifiers!" exclaimed John Atkinson during a recent visit. This surprised me—I didn't think it was possible to have too many amps. While I'm not going to open an amp museum, I do have a starter collection of Mark Levinson amplifiers from different eras. This either makes me exactly the right or the wrong person to size up Mark Levinson's new No.532H.
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Larry Greenhill Posted: Jun 15, 2011 1 comments
James Tanner, VP of marketing at Bryston Ltd., was frustrated. He'd borrowed a Music Vault 4000 music server to play high-resolution digital music files at Bryston's exhibit at the 2009 Consumer Electronics Show. Most of the time, the server delivered some of the best sound at that event. The rest of the time, there were dropouts and crashes. Tanner later experienced similar dropouts and crashes when he streamed hi-rez digital files over his home network to a Bryston BDA-1 digital-to-analog converter (see my review in the February 2010 issue).

I found a more relaxed Tanner at the 2010 CES. This time, he'd borrowed an Auraliti L-1000 digital file server ($3000 at www.auraliti.com), a box with no front-panel controls, no display, no hard drive, no fans, and no CD drive. Instead of a Windows operating system, the L-1000 ran a stripped-down version of the Linux open-source operating system. Its simplicity of design solved the reliability problems Tanner had encountered the year before.

Then and there, Tanner decided to ask Auraliti to help Bryston create a simple digital music file player. The result is the BDP-1.

Larry Greenhill Posted: May 10, 2010 1 comments
JBL was founded 60 years ago, by Jim Lansing. Its history has been amply detailed in the book The JBL Story: 60 Years of Audio Innovation, by the late John Eargle's (JBL Professional, 2006). Although it is primarily known for its pro-audio loudspeakers, the Californian company has offered a steady stream of high-performance domestic loudspeakers to the home market, including the 1971 Paragon, the L100 bookshelf speaker, and the JBL 250Ti floorstander, all of which remained in JBL's catalog for 20 years. In 1990, JBL produced the Project K2 S9500 flagship speaker for the Japanese high-end market. The K2 Project culminated in the $60,000/pair DD55000 Everest system, with its cross-firing asymmetric horns, and the subject of this review, the Synthesis 1400 Array BG, was a spin-off from the K2 project. It features horn-loaded midrange and tweeters to attain a flat response out to a claimed 48kHz.
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Larry Greenhill Posted: Apr 20, 2010 0 comments
It's been over two years since I reviewed a pair of JL Audio's Fathom f113 subwoofers. Kalman Rubinson and I both gave the f113 top marks for delivering clean, powerful bass in a wide variety of full-range systems. At the end of the review period, JL Audio's Carl Kennedy told me that they wouldn't send me another subwoofer for review until they had developed one that outperformed the Fathom f113 (footnote 1). To this day, the Fathom f113 tops the subwoofer category in Stereophile's "Recommended Components."
Larry Greenhill Posted: Feb 23, 2010 0 comments
In February 2009, I reviewed Bryston Ltd.'s first CD player, the $2695 BCD-1, and was very impressed by what I heard. The BDA-1 ($1995) is the Canadian company's first standalone DAC. It's slim, only 2.75" high, with the engraved company name, model number, and infrared sensor grouped at the extreme left of a front panel of polished aluminum. Farther to the right are two columns of four LEDs each that comprise the sample-rate indicator, which identifies the selected input's signal frequency and whether the BDA-1 has locked to it. Closer to the center is the Upsample control, which governs the conversion of the incoming digital signal synchronously to 192kHz or 176.4kHz. The Upsample LED turns green for 192kHz, red for 176.4kHz. Digital sources are selected by pressing one of eight pushbuttons just right of center: two TosLink, four S/PDIF (coaxial), one AES/EBU XLR, and one USB 1.1, the last accepting only signals with sample rates at or below 48kHz. An LED above each pushbutton lights green for an incoming PCM datastreams and red for other types, including multichannel Dolby Digital streams.
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Larry Greenhill Posted: Jan 14, 2010 0 comments
Friday was the busiest day I and other Stereophile writers found at the CES venues. Pictured here is a lull in the traffic taken from a window at the Las Vegas Convention Center (LVCC) near the press room, where the line for the free press lunch stretched hundreds of feet. Later that day, the bus and cab lines at the LVCC stretched half a mile as evening approached and the temperature outside dropped from mid 60s to temperatures in the 40s (Fahrenheit). Little evidence of a recession was visible in pure crowd count, but I ran into many more Asian and European attendees, while missing some friends in the audio high end community who skipped CES this year.
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Larry Greenhill Posted: Jan 13, 2010 5 comments
"Go and hear the KEF Concept Blade Loudspeaker," encouraged John Atkinson, "it’s their current statement on the state of loudspeaker art." For reasons unclear, KEF selected a hard-to-find Hilton Hotel suite for their exhibit, far away from the high-end exhibits in the Venetian Hotel. But when I whispered the word "Blade," I was ushered into a dark room where the set of twin loudspeakers, looking like aircraft wings, were standing. The cabinet curvature eliminates cabinet resonances, I was told. The KEF engineer explained that the company had not set a price on the Blade because they regarded it like a concept car, a one-off, handbuilt test model.
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Larry Greenhill Posted: Jan 13, 2010 1 comments
John Devore was using this diminutive integrated amplifier, the German-manufactured Acoustic Plan Mag Amp, to drive his new high-sensitivity loudspeakers. According to Jonathan Halpern, the US importer, the Mag Amp uses a tubed voltage-gain stage and an output stage comprised of two small transformers with dual primaries. He described it as the "world's first switching integrated amplifier, and added that it was designed by Lars Lundahl in the 1960s. The 19 kg stereo chassis offers 15Wpc into 8 ohms and will cost $18,500. It played both a 1980s recording of Ella Fitzgerald and one of Stravinsky's Pulcinella Suite with great dynamics, speed, and detail. This is the kind of odd and fascinating gem one can uncover at the end of a day when one is too tired to rush out of an exhibit room, and instead collapses on the couch to listen.
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Larry Greenhill Posted: Jan 13, 2010 12 comments
I was highly impressed with the dynamics, speed, and pace of a new $8000/pair loudspeaker from John DeVore, a speaker maker from my area of the country, Brooklyn, New York. I had first read about John in the New York Times when it featured new and brave entrepreneurs making their way in Brooklyn during the recent recession. I was interested, because of my medical research background, that the very tall Mr. DeVore had been positively influenced in his younger years by an uncle who was a leading primatologist, and had take him to Africa to view various monkeys living in their natural habitat. As a result, John names his loudspeaker lines for various species, including the Gibbon, Silverback, and now Orangutan. This floorstanding, two-way, high-sensitivity ([95]dB/2.83V/m) loudspeaker features a 1" silk-dome tweeter and a reflex-loaded, 10" treated-paper woofer (rear port) in a cabinet with a lace walnut finish. I was struck by the similarity between John's energy and enthusiasm and the dynamics and pace of the music the Orangutan generated driven by the 15Wpc Mag Amp.
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Larry Greenhill Posted: Jan 12, 2010 4 comments
Vandersteen's $45,000/pair, time- and phase-correct, four-way, floorstanding, Model Seven loudspeaker made its debut at the 2009 CES but is now in production. I sat with Richard Vandersteen in his suite at the Venetian, and listened intently to his description of how he designed the Model Seven. He started by saying, "I didn't really understand the advantages of carbon-fiber as a material that could help speaker design until I built my own airplane." From there, he described how he developed a patent-pending sandwich of high-Young’s Modulus carbon-fiber skins bonded to a balsa-wood core for the mid-bass, midrange, and tweeter diaphragms, which combines very high stiffness for proper pistonic operation, with high self-damping. Carbon-fiber construction for the enclosure also allowed him to restrict the cabinet resonance to very high frequencies, where they will have no effect on sound quality. The drive-units use Vandersteen’s patented method of avoiding rear reflections from the magnet structure. The powered 12" subwoofer fires down at the floor. All this was evident when he played a vinyl recording of Holst's The Planets. The Model Seven, driven by Aesthetix amplification, played with unusual clarity and definition, and I could easily follow different motifs in this orchestral selection that I had not been aware of at home. From what I heard at the Show, I anticipate the Model Seven doing very well in the review scheduled to run in the March, 2010 issue of Stereophile.

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