Kalman Rubinson

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Kalman Rubinson Posted: Sep 25, 2005 0 comments
I recently had a house guest who is a music lover and amateur pianist but who had never heard of the SACD or DVD-Audio formats. I explained what they were and demonstrated examples of both, to his amazement. He then blew them off, saying that my system always sounds great and that the average person couldn't or wouldn't afford the kind of equipment I have. But when I told him that there were universal players available for less than $200 at retail and that, in fact, the player I was using was based on a transport drawn from a similar mass-market product, his interest was piqued. Of course, I didn't emphasize that one's expectations may not be the same, or that the boys designing the high-end stuff do make it sound different and, usually, much better. Heck, I'll do whatever I can to hook a music lover on these new formats, even if their future is uncertain. Once he's hooked, audiophilia will have him forever.
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Kalman Rubinson Posted: Aug 15, 2005 0 comments
In this, its 50th year of company operations, Phase Technology announced and demonstrated a new type of loudspeaker system. The series, named dARTS for Digital Audio Reference Theater System, is obviously aimed at the custom-install, home-theater market, but the components and concepts are applicable to music reproduction in any number of channels. As described by PT's director of sales and marketing, Tony Weber, the dARTS system is (1) modular and (2) actively powered and equalized by DSP, incorporating Audyssey's MultiEQ XT for digital room correction.
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Kalman Rubinson Posted: Jul 31, 2005 0 comments
The ongoing reissues of Mercury Living Presence and RCA Living Stereo recordings, have been the signal successes of the SACD format. Despite having been recorded in only (!) three channels, these releases have given us very good justifications for going beyond two-channel stereo to get as unrestricted a hearing as possible of live performances.
Kalman Rubinson Posted: Jul 03, 2005 Published: Sep 03, 1998 0 comments
I have a soft spot in my heart (some say my head) for transmission-line designs. I remember being entranced by the authoritative but effortless bass of John Wright's IMF and TDL Monitors, and I have been inspired to experiment by building my own lines in various sizes. Then, as demonstrated by Bryston's Jim Tanner at the 1997 WCES and at HI-FI '97, PMC's IB-1S loudspeakers threw an enormously deep soundstage. (I have a soft spot for that as well.)
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Kalman Rubinson Posted: May 30, 2005 0 comments
Ever since I installed dedicated power lines for my multichannel system, I've been wrestling with the issues of surge protection, power conditioning, and voltage regulation. I start with a bias based on decades of happy listening without being concerned about any of these problems, and my belief that competent electronic components must be, and are, designed to perform in the real world. After all, whether the device's AC power supply is a traditional transformer-bridge-reservoir or a switching supply, its output should be a DC source that is sufficient to let the active circuitry meet its specifications. Many manufacturers, such as Bryston, recommend bypassing any line conditioners and plugging their components directly into the AC outlet.
Kalman Rubinson John Atkinson Posted: May 22, 2005 0 comments
This lapsed fan of electrostatic speakers finds it curious that, while MartinLogan is the predominant representative of this technology in the US, I had never auditioned an ML design in my home. I've enjoyed many Janszen tweeters, a KLH 9, an AcousTech X, Stax ELS-F81s, and I've dallied with Quad ESL-63s. But as dumb luck would have it, the first MartinLogan speaker to reach me, the new Montage, is a hybrid model.
Kalman Rubinson Posted: May 01, 2005 Published: Oct 01, 2001 0 comments
I used to be an audio cheapskate even worse than Sam Tellig. Anytime I saw an interesting device for sale, I immediately began to figure out how I might build it for myself for a fraction of the cost.
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Kalman Rubinson Posted: Mar 27, 2005 0 comments
When I was a young amateur photographer, I subscribed to all the major photo magazines and avidly read all the articles. However, I was bugged when I realized there was a cycle of repetition—that I was reading about the basics of Ansel Adams' Zone System for the third time.
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Kalman Rubinson Posted: Feb 13, 2005 Published: Jan 13, 2005 0 comments
Along with speakers and their placement, the greatest influence on the sound of a music system are the acoustics of the room itself. With two-channel stereo, some reflections and reverberations are necessary in order to maintain the perception that one is listening in a real space. So, while many experts recommend having a "dead" end behind and near the speakers that absorbs most sound, few suggest such treatment for the rest of the room. With too few sonic reflections, the stereo image would narrow; without the aid of "room gain" to enrich the bass, the sounds of instruments and voices would be thin. Listening in an anechoic chamber is interesting and informative, but far from pleasurable.
Kalman Rubinson Posted: Jan 18, 2005 0 comments
The modification of disc players is a hot topic on the various audio newsgroups, where the discussion includes do-it-yourself options and the recommendations of commercial modifiers. These range from tweak guys to such serious engineering firms as EMM Labs and everything in between. Not surprisingly, the objects of these endeavors are usually players made by one of the electronic behemoths: Sony, Philips, Technics, Toshiba, etc. In fact, it was just such a discussion that precipitated John Atkinson's purchase of and recent comments on a stock Toshiba 3950 player, a popular target of modifiers.

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