Robert Harley

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Robert Harley Posted: Apr 27, 2012 Published: Mar 01, 1993 0 comments
Ed Meitner is one of those rare individuals who charts his own course in audio product design. From his platterless turntable of the mid-1980s to his new Intelligent Digital Audio Translator (IDAT, reviewed elsewhere in this issue), Ed Meitner's products have been distinguished by original thinking and innovative engineering. Although not all his designs have been commercially successful, in each he has attempted to advance the state of the art by rethinking fundamental principles.

Ed is also pursuing an ambitious project that would radically change the way recordings are made. It began when he recorded an electric guitar through a 10" guitar-amp loudspeaker and was dismayed that it was impossible to even come close to capturing and realistically reproducing this apparently simple sound through another 10" speaker. This experience launched his investigation into why reproduced sound is never mistaken for live music, a quest that may result in a radically new recording technique.

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Robert Harley Corey Greenberg Larry Greenhill Thomas J. Norton Posted: Nov 02, 2011 Published: Jul 01, 1991 0 comments
I should begin this review by confessing that I've never been a fan of subwoofers. Most subwoofer systems I've heard have been plagued by a familiar litany of sonic horrors: poor integration between subwoofer and main speakers, boom, bloat, tubbiness, slowness, excessive LF output, and an overall presentation that constantly reminds the listener he is hearing a big cone moving. To me, subwoofers often sound detached from the music, providing an accompanying thump that bears little relationship to the sound from the main speakers. Rather than revealing the music's harmonic underpinnings, subwoofers often obscure them in a thick morass of featureless boom. In addition, adding a subwoofer often destroys the qualities of the main speakers that made you buy them in the first place—just to name a few of my observations (footnote 1).

Other than that, I like subwoofers.

Robert Harley Posted: Oct 04, 2011 Published: Feb 01, 1990 1 comments
666proceedcd12.jpgThe Proceed CD player is the first digital product from Madrigal Audio Laboratories, a company known for their Mark Levinson preamplifiers and power amplifiers, including the very highly regarded No.20.5 power amplifiers. Given Madrigal's track record of producing ultra–high-end (and expensive) components, I was surprised and encouraged that the Proceed CD player is so affordably priced.

The Proceed was a long time in development, reflecting Madrigal's care and thoroughness before releasing a new product. Many technical innovations have been incorporated into the Proceed, and the machine's unusual appearance exemplifies the "start from scratch" attitude behind its development. With its nearly square proportions, grey cabinet, and sparse front-panel controls, the Proceed may set a new trend in audio component styling.

Robert Harley Posted: Aug 26, 2011 Published: Oct 01, 1989 0 comments
The Arcam Delta 170 is one of the first examples of an entirely new product category: CD transports. The concept of different CD transports having different sonic qualities is vexing. It is a simple matter to prove that the bit stream contains identical data from virtually any CD transport (see "Industry Update," Vol.12 No.8). According to Arcam, development of the Delta 170 was spurred by audible differences among transports heard by dealers, customers, and Arcam staff. The possibility that CD transports have their own sonic signatures is intriguing.
Robert Harley Posted: Aug 08, 2011 Published: Jun 01, 1991 2 comments
The past 12 months have seen some remarkable developments in digital playback. Standards of digital musicality are far higher than they were a year ago, both on an absolute performance basis and in terms of what you get at various price levels. No other component category has seen such tremendous gains in value for money or number of new products introduced. It seems hard to believe that since Vol.13 No.6 (12 issues ago), we've reviewed such noteworthy digital processors as the Meridian 203, Proceed PDP 2, Stax DAC-X1t, Theta DSPro Basic, Wadia X-32, Esoteric D-2, PS Audio SuperLink, and VTL D/A. Each of these converters brought a new level of performance to its price point—or, in the case of the Stax and VTL, established a new benchmark of ultimate digital performance.

Just as these units provided stiff competition for previous products, so too will they come under the assault of improving technology. The art of digital processor design is so young that we can continue to expect further improvements coupled with lower prices as designers move up the learning curve.

Robert Harley Posted: Jul 05, 2011 Published: Oct 15, 1989 0 comments
The rapidly evolving world of the late 20th century is the source of much stress. Changes in the status quo, whether wrought by social, political, or technological forces, are often accompanied by anxiety brought on by the struggle to assimilate new patterns of thought. New ideas necessitate abandoning or modifying one's old ideas, thus creating conflict (footnote 1). However, these periods of rapid change can also be exciting, allowing one to chart a course of discovery and growth.
Robert Harley Posted: May 31, 2011 Published: Jan 01, 1990 0 comments
The VTL 225W DeLuxe monoblocks are very similar to the 300W monoblocks that received such an enthusiastic reception from J. Gordon Holt a year or so ago (in Vol.11 No.10) and, ultimately, most of the audiophile community. Technically, they differ only in output tubes and transformer: the 225W uses EL34s, the 300W uses 6550s. The 225Ws, at $4200/pair, cost $700 less than their more powerful brothers. The question may be raised: Why have two models so close in price and performance? According to David Manley, the 225Ws were built on special order for audiophiles who preferred the sound of EL34s to the 300Ws' 6550s. Demand was so great for the EL34 version that he decided to add it to the line. They look almost identical, the only difference being the smaller output transformer on the 225W and an additional filter capacitor on the 300W's top chassis.
Robert Harley Posted: May 03, 2011 Published: Jan 01, 1990 0 comments
The name Muse Electronics is probably unfamiliar to most audiophiles, requiring some background on the company. Muse is the hi-fi offshoot of a company called Sound Code Systems, a manufacturer of professional sound-reinforcement speaker cabinets and power amplifiers. Founded in 1980, SCS enjoyed some success with its line of MOSFET professional power amplifiers. In 1988, SCS's Michael Goddard and Kevin Halverson, both audiophiles and tube aficionados, redesigned their amplifier for the high-end hi-fi market.

The results are the Model One Hundred (a 100Wpc stereo power amplifier) and the Model One Hundred Fifty ($1900/pair), the 125W monoblock reviewed here. According to Michael Goddard, the primary design goal was to achieve a tube sound with the reliability and ruggedness of transistors. MartinLogan CLS speakers were used extensively during the design/listen/design cycle. As a result of their listening auditions and redesign, many of the changes have now been incorporated into their professional products.

John Atkinson Robert Harley Posted: Mar 31, 2011 Published: Feb 01, 1989 0 comments
As explained by Ken Kessler elsewhere in this issue, the English A&R Cambridge company made their name by producing one of the UK's most successful integrated amplifiers, the 40Wpc A60. This neatly styled model was in production for a decade or so and was the basis for a large number of good-sounding but inexpensive audio systems. These days, the company, whose products in the US sell under the Arcam banner, is a major British hi-fi manufacturer, with a product line that includes integrated amplifiers, tuners, loudspeakers, cartridges, and even a CD player. A&R was, I believe, the first UK manufacturer to obtain a player-manufacturing license from Philips, and with the product under review here, has broken new territory for a supposedly "audiophile" company in having a custom LSI chip manufactured to their own requirements.
Robert Harley Posted: Feb 08, 2011 Published: Apr 01, 1991 0 comments
The Snell Type C/IV's design has been highly influenced by both the testing methods and philosophy of Canada's National Research Council in Ottawa. Other well-known loudspeakers to have benefited from the NRC's testing facilities include the Mirage M-1 and M-3, PSB Stratus Gold, the Waveform, and Camber 3.5. The NRC provides a variety of services to loudspeaker designers, notably use of their testing facilities which include a full-sized anechoic chamber. In addition, the NRC is heavily involved in carefully controlled blind listening comparisons between loudspeakers, used to aid the loudspeaker designer while the product is under development. The NRC doesn't provide design services, but rather the means of testing and evaluating work in progress and finished products.

Despite not offering design aid, many loudspeakers created with the NRC's testing and listening laboratories share some common philosophies. Chief among these is the belief that flat amplitude response is far and away the most significant factor in listener preferences and thus should be the paramount design goal. Many NRC-influenced loudspeakers share steep crossover slopes, wide dispersion, smooth off-axis response, and pay considerable attention to the way the loudspeaker interacts with the listening room.

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