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Larry Greenhill Posted: Nov 25, 2015 2 comments
In July 2000, I reviewed the Mark Levinson company's first integrated amplifier, the No.383, and found that its sound had "clarity, transparency, liquid mids and highs, with dynamic contrasts." Also evident were the No.383's power-output limitations, the result of building large power supplies and heatsinks into a single case that had to fulfill multiple functions. Still, the No.383's price of $5900 was much less than the total cost of the equivalent in Mark Levinson separates. Later, in April 2007, I reviewed a similarly powered integrated amplifier, Bryston's B100-DA ($3195), which included a built-in DAC.
Larry Greenhill Posted: Nov 13, 2015 Published: Dec 01, 1995 1 comments
The EAD DSP-1000 III is housed in a 2.5" high, U-shaped chassis with a brushed-aluminum front panel. The cover is made of solid, 1/10"-thick steel with a nice "powder" finish, giving the unit an expensive feel. A pushbutton standby switch sitting below a green LED indicator sits at the panel's left. Even when set to Off, power is maintained for the decoder's circuits, but the digital inputs and analog outputs are muted. To the right, three pushbuttons allow selection of one of the three digital input sources (TosLink, 750 ohm coaxial, or glass optical interface). Like the EAD DSP-7000 unit reviewed by J. Gordon Holt and Steven Stone (Vol.18 Nos.1 & 5), the DSP-1000 accepts any of the three sampling rates: 32kHz, 44.1kHz, or 48kHz. Toward panel center is a lock light that illuminates when a digital data link is established. HDCD decoding occurs automatically whenever an HDCD disc is played, causing the front-panel HDCD indicator to light. No remote is available for this decoder.
Larry Greenhill Posted: Aug 14, 2015 Published: Dec 01, 1995 4 comments
The availability of the Pacific Microsonics High Definition Compatible Digital (HDCD®) PMD100 decoder chip, manufactured by San Jose's VLSI Technology, has brought about a minor revolution in Compact Disc playback. It brings sonic improvements in imaging, soundstaging, and resolution of detail. In the past six months, Stereophile has published a number of reports on the HDCD decoder's operation, what HDCD recordings are available, and the improvements brought by the HDCD chip to specific digital audio processors (footnote 1). High-end manufacturers are incorporating the $40 HDCD chip in their newest decoders, including the $4695 Sonic Frontiers SFD-2 Mk.II D/A processor, the $15,950 Mark Levinson No.30.5, and the $8195 Spectral SDR-2000 Professional HDCD D/A Processor (reviewed in Vol.18 No.5).
Larry Greenhill Posted: Feb 26, 2015 12 comments
Several seconds after I began listening to it, I knew that Theta Digital's Prometheus monoblock amplifier ($12,000/pair) was different from other amplifiers. The violins and brass were more dynamic, and had more pace. The orchestra sounded more three-dimensional, depicted in relief by a degree of hall ambience I hadn't heard when I played the same recording through my reference solid-state stereo amplifier, a Mark Levinson No.334.
Larry Greenhill Posted: Feb 12, 2015 0 comments
Powerful, massive, and expensive, Revel's Ultima Rhythm2 subwoofer ($10,000) swept me off my feet when I first saw it in Harman International's suite at the 2013 Consumer Electronics Show. It outsizes, by 49 lbs and 2.6 cubic feet, Revel's previous flagship model, the Ultima Sub30, which I reviewed in the November 2004 issue. Its specs read like no other sub's: 196 lbs; 18" cast-frame woofer; dual 4" voice-coils; 4kW peak power from twin internal amplifiers that generate 1kW RMS; 115dB peak acoustic output; a fully configurable, high-resolution, 10-band parametric equalizer (PEQ); an internal crossover with high- and low-pass outputs; and PC-based setup via USB. The Rhythm2's patent-pending design is said to let just enough air move in and out of the cabinet to prevent any distortion-inducing pressure due to heating of the voice-coils. And its veneer, shape, beveled top edges, and bottom plinth exude the quality found in Revel's top-of-the-line floorstanding speaker, the Ultima Salon2, with which I was familiar.
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Larry Greenhill Posted: Jan 17, 2015 6 comments
TAD's chief engineer, Andrew Jones, always cheerful and happy, took great pleasure in introducing his newest design, the TAD CE1 Compact Evolution One, a contemporary styled bookshelf loudspeaker. This product produced my once-a-show epiphany for good sound.
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Larry Greenhill Posted: Jan 15, 2015 1 comments
Lamm Audio used two ML3 Signature amplifiers ($139,490) and two ML2.2 amplifiers ($37,290) to power a pair of Verity Audio Lohengrin IIS loudspeakers ($120,000) in one of the Venetian's largest exhibit rooms.
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Larry Greenhill Posted: Jan 15, 2015 0 comments
T+A's lively and energetic Jochen Fabricius was eager to fill me in on the new, 3-way, 183 lb, $55,000/pair T+A CWT 1000-8 SE floorstander. This speaker uses a 25" by 2" electrostatic line tweeter that covers the frequency range from 2kHz to 40kHz.
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Larry Greenhill Posted: Jan 15, 2015 2 comments
Abbey Masciarotte, Tannoy's representative at CES 2015, showed me the company's floorstanding Canterbury loudspeaker. The Canterbury has a striking retro look and uses a dual-concentric 15" drive unit that mounts a high-frequency compression driver inside the throat of a 15" woofer.
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Larry Greenhill Posted: Jan 15, 2015 0 comments
YG Acoustics introduced the second edition of their original 2-way Carmel loudspeaker, the Carmel 2. It is said to bring the sound of the more expensive $72,800/pair Sonja 1.2 at a more reasonable price, $24,500/pair.

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