Kalman Rubinson

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Kalman Rubinson Posted: Sep 08, 2000 0 comments
Prelude
I fell in love with the original Link DAC, as was obvious from my review in the January 1999 Stereophile. I said that "the Link redefines entry into high-quality digital sound," as it provided excellent sound and 24-bit/96kHz conversion for the remarkably low price of $349. It is as firmly ensconced in Class C of "Recommended Components" as it is in my weekend system, where it tames the digital signals from my DMX receiver and my trusty old Pioneer PD-7100 CD player.
Kalman Rubinson Posted: May 09, 2000 0 comments
I visited the Revel room on the last day of the January 1999 CES, expecting another dynamic demo of their Ultima line. Instead, I found a pair of floorstanding Performa F30s connected to a rack full of the best Mark Levinson electronics. Deeply impressed by the dynamics and clarity of this first model in the new Performa line, I called Revel's Kevin Voecks as soon as I got back to New York City, but was told that another Stereophile reviewer had already got first dibs on the F30. Would I be interested in one of the other Revels? Well, yes, sure, but...
Kalman Rubinson Posted: Feb 13, 2000 0 comments
I am biased: On very little evidence, I remain convinced that, in the near future, high-quality music reproduction will be multichannel. While most multichannel demos are still egregiously and aggressively ping-pong, I have attended a few successful demonstrations of discrete multichannel reproduction that have impressed me so deeply that I hunger to have all the music I love transported to me (and me to it) in this way.
Kalman Rubinson Posted: Dec 02, 1999 0 comments
Unlike the imposing mbl and Burmester DACs that I review elsewhere in this issue, the Mark Levinson No.360 is New England conservative in appearance. Its operation was simple to master despite the sophistication and flexibility on tap. Flanked by Fasolt and Fafner, the Levinson No.360 seemed as amiable as Freia.
Kalman Rubinson Posted: Sep 02, 1999 0 comments
"Gotta get my hands on these!"
Kalman Rubinson Posted: May 25, 1999 0 comments
In Stereophile's "Recommended Components," most full-range Class A speakers—and even some in Class B—are behemoths. Some are tall, some are wide, some are deep, and some are just plain big. Most of us would find such no-compromise devices physically imposing and visually distracting in our listening rooms. Putting aside the infamous "Spousal Acceptance Factor," how can you ignore such speakers' presence and concentrate on the music?
Kalman Rubinson Posted: Mar 07, 1999 0 comments
I first saw and heard SimAudio's Moon amp and preamp at WCES two years back, and something about their aesthetics appealed to me: Canadian ruggedness coupled with a decidedly French panache. I remember that those attributes also characterized the demo's sound, although I can't recall the speakers or the sources involved. At succeeding shows, it gradually dawned on me that the Moon components were the fixed elements in a succession of impressive demos.
Kalman Rubinson Posted: Jan 28, 1999 0 comments
Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players—and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the dCS Elgar DAC, near and dear to John Atkinson's heart and a perennial Class A selection in Stereophile's "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.
Kalman Rubinson Posted: Jul 15, 1998 0 comments
Tone controls? I ripped them out of my Dyna PAS-3! And that was the last time I had tone controls. As a card-carrying audiophile, I wanted just what the engineer had inscribed on the recording, with as little change as possible (read: high fidelity).
Kalman Rubinson Posted: Jul 15, 1998 0 comments
Tone controls? I ripped them out of my Dyna PAS-3! And that was the last time I had tone controls. As a card-carrying audiophile, I wanted just what the engineer had inscribed on the recording, with as little change as possible (read: high fidelity).

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