The one thing I've liked about designer Mike Creek of Creek Audio as much as his design talent is his predictability. I've been following his integrated-amplifier designs for nearly 20 years now, having reviewed, in sequence, the CAS4140s2 (for another magazine), the 4240SE (<I>Stereophile</I>, December 1995, Vol.18 No.12), and the <A HREF="http://www.stereophile.com/integratedamps/327">5350SE</A&gt; (March 2001, Vol.24 No.3). In each case, I was sufficiently impressed with the review sample that I bought it and made it my new reference in my second, affordable system. The predictable part comes from Creek's traditional nomenclature: an "s2" or "SE" (Special Edition) designation has always denoted a modest upgrade, and a numerical uptick in the model number a more significant upgrade, the level of significance denoted by the specific digit being increased. Hence, the update from 4240 to 5350 is intended to indicate a greater improvement in sound than the update from 4140 to 4240.

The one thing I've liked about designer Mike Creek of Creek Audio as much as his design talent is his predictability. I've been following his integrated-amplifier designs for nearly 20 years now, having reviewed, in sequence, the CAS4140s2 (for another magazine), the 4240SE (<I>Stereophile</I>, December 1995, Vol.18 No.12), and the <A HREF="http://www.stereophile.com/integratedamps/327">5350SE</A&gt; (March 2001, Vol.24 No.3). In each case, I was sufficiently impressed with the review sample that I bought it and made it my new reference in my second, affordable system. The predictable part comes from Creek's traditional nomenclature: an "s2" or "SE" (Special Edition) designation has always denoted a modest upgrade, and a numerical uptick in the model number a more significant upgrade, the level of significance denoted by the specific digit being increased. Hence, the update from 4240 to 5350 is intended to indicate a greater improvement in sound than the update from 4140 to 4240.

Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.

Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.

Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.

Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.

Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.

Here's something that's difficult to visualize but nonetheless true: If you attempt to isolate from their environment the working bits of a record player&mdash;the main bearing, platter, tonearm, and cartridge&mdash;by means of an elastic drive belt and a suspended subchassis of the usual sort, you'll create almost as many problems as you solve.

Here's something that's difficult to visualize but nonetheless true: If you attempt to isolate from their environment the working bits of a record player&mdash;the main bearing, platter, tonearm, and cartridge&mdash;by means of an elastic drive belt and a suspended subchassis of the usual sort, you'll create almost as many problems as you solve.