Mark Levinson No.30 Reference Digital Processor Specifications
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Measurements
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Review System
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Robert Harley again June 1993
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Page 5
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Page 4
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Page 3
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Mark Levinson No.30 Reference Digital Processor Page 2
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying <I>interpretations</I> of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
Over the past two and a half years, I've auditioned and reviewed a number of digital audio products. It has been a fascinating experience both to watch digital playback technology evolve and to listen to the results of various design philosophies. The road to more musical digital audio has been a slow and steady climb, with occasional jumps forward made possible by new techniques and technologies. Making this odyssey even more interesting (and confounding), digital processors seem to offer varying interpretations of the music rather than striving toward a common ideal of presenting what's on the disc without editorial interjection.
So I have a choice between the two, both in good shape. For a garage/shop system. Cannot test both back to back to decide. Which would you choose?
Cerwin Vega DX-1 vs. Cambridge Soundworks Model Six