LATEST ADDITIONS

Robert Harley, Sam Tellig  |  Aug 08, 1995  |  First Published: Aug 08, 1985  |  0 comments
The $395 NAIT, rated at 20Wpc, is a good-sounding little amp. It's very open and spacious-sounding, but, like the $250 Rotel RA-820BX, sometimes sounds a little hard in the upper registers.
Robert Deutsch  |  Aug 04, 1995  |  0 comments
I remember having a conversation with an audiophile some time ago about the thorny subject of choosing an amplifier. He was convinced, on the basis of an article he had read in Stereo Review, that all amplifiers of a given power rating sound pretty much the same. Although he was sufficiently well off to buy just about anything on the market, he didn't want to waste his money. He chose the amplifier for his system by going through the Audio Annual Directory Issue, calculating the price:watt ratio for each amplifier that was listed, and then bought the amplifier with the lowest price/watt figure that had enough power to drive his speakers. He didn't do any comparative listening and didn't consider buying anything that cost more for the same power, because he knew already that it wouldn't sound any different.
John Atkinson  |  Aug 02, 1995  |  0 comments
In the fall of 1982, I had just become the Editor of the English magazine Hi-Fi News & Record Review. Hi-fi was in a state of flux. The Compact Disc had just made its debut in Japan, but the British and American launches were six months and a year away, respectively. The Linn orthodoxy prevailed about the role of the source in system performance, but there was no agreement about what was and was not important when it came to enhancing the musical experience. "Objectivists" insisted that amplifiers and even loudspeakers had pretty much reached a design plateau where no further improvement was necessary or even desirable, while "subjectivists" were fragmented. All I was aware of was that my system, based on Celestion SL6 loudspeakers, needed more of an undefinable something.
J. Gordon Holt, Sam Tellig  |  Aug 01, 1995  |  First Published: Aug 01, 1976  |  0 comments
This is something we don't see too often: an entirely new approach to power amplifier design. As Quad points out in its literature for the 405, class-A operation of transistors provides the lowest distortion, but drastically limits the amount of power an output transistor can deliver without overheating. (Most transistor amps use class-AB output operation, in which each of a pair of power transistors handles part of each signal cycle and shuts down during the other part. Imperfect synchronism between the two halves causes the familiar "crossover distortion," which accounts for most solid-state sound. In class-A operation, each output transistor draws current though the entirety of each signal cycle, eliminating the crossover transition but doubling the amount of time current is drawn, and thus tending to cause the transistor to heat up more.)
Wes Phillips  |  Jul 30, 1995  |  0 comments
The cab's outside, the plane leaves in 50 minutes. Let's see...HeadRoom Supreme, HeadRoom Bag, portable CD player, CDs, Etymotic ER-4S Canal Phones....Oh, yeah—mustn't forget luggage or plane tickets. Guess I'm set to go.
John Atkinson  |  Jul 30, 1995  |  First Published: Jul 30, 1994  |  0 comments
A truly great preamplifier lets everything through, both music and distortion, but with such generosity that neither...is cramped and narrow.Larry Archibald (footnote 1)
John Atkinson  |  Jul 24, 1995  |  First Published: Jul 24, 1994  |  0 comments
A truly great preamplifier lets everything through, both music and distortion, but with such generosity that neither...is cramped and narrow.Larry Archibald(footnote 1)
Wes Phillips  |  Jul 06, 1995  |  0 comments
MEDESKI MARTIN & WOOD: Friday Afternoon in the Universe
John Medeski, organs, piano, wurlitzer, clavinet; Billy Martin, drums, percussion; Chris Wood, acoustic bass, harmonica, wood flute
Gramavision GCD 79503 (CD only). MMW, David Baker, Jim Payne, prods.; David Baker, eng.; Dr. Toby Mountain, mastering. DDD? TT: 57:06
Martin Colloms  |  Jul 05, 1995  |  First Published: Jul 05, 1994  |  0 comments
Sonus Faber provides a fascinating and challenging insight into the art of high-quality sound reproduction. This Italian company makes two costly two-way stand-mounted speakers that couldn't be more different from each other.
John Atkinson  |  Jun 30, 1995  |  First Published: Jun 30, 1992  |  0 comments
One of the great imponderables in hi-fi is how much the vibrations of a dynamic loudspeaker's cabinet walls contribute to its overall sound quality. Studies by William Stevens in the mid-1970s showed that, with some speakers, the acoustic output of the enclosure could be almost as much as that from the drive-units. Since then, responsible speaker designers have worked hard either to damp cabinet vibrations or to shift them to higher frequencies where their effect on the music will be less deleterious.

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