Description: Solid-state monoblock power amplifier with active power-factor correction. Inputs: 1 pair balanced (XLR) Voltage Mode; 3 pairs unbalanced (RCA): Voltage Mode, Current Mode, Minimal Path. Outputs: 2 pairs speaker binding posts. Output power: >270W into 8 ohms, >500W into 4 ohms. Distortion: <–126dB (<500 parts/billion) up to 20kHz at full power output, all harmonic-distortion orders. THD: <–140dB (<100ppb) at 1kHz. Intermodulation products: all <–126dB relative to power output for sum of 19+20kHz tones, each delivering 100W into…
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Sidebar 2: Associated Equipment
Analog Source: VPI HR-X turntable-tonearm, Lyra Titan cartridge.
Digital Sources: EMM CDSD/DCC2 SACD system, Simaudio Andromeda CD player.
Preamplification: Sutherland PhD phono stage; Placette Active, Sutherland Director, VTL TL-7.5 line stages; Halcro dm10 preamplifier.
Power Amplifiers: Halcro dm58, Mark Levinson No.20.6, Simaudio Moon Rock, VTL Ichiban monoblocks, VTL S-400.
Loudspeakers: Thiel CS6, Wilson Audio Sophia.
Cables: Interconnect & Speaker: Nirvana SX-Ltd., Nordost Valhalla, Shunyata Research. AC: Shunyata Research.
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Sidebar 3: Measurements
I preconditioned one of the Halcro dm88 monoblocks (serial no. 00136) by running it for 60 minutes at one-third the specified power into 8 ohms. With the amplifier cold, the measured THD+noise was just 0.00093%! The figure was the same at the end of the hour; while the left-hand side panel was gently warm, the right-hand panel was still cool. It wasn't possible to measure the dm88's Current Mode input; I performed complete sets of measurements via the dm88's balanced and unbalanced Voltage Mode inputs, as well as via its unbalanced Minimal Path jack.
The…
Sound Bites: 50 Years of Hi-Fi News
By Ken Kessler and Steve Harris. London, IPC Media, 2005; paperback, 224 pages, 8.25" by 5.75", indexed. $29.95. Available in the US from Music Direct, www.musicdirect.com, (800) 449-8333.
By Ken Kessler and Steve Harris. London, IPC Media, 2005; paperback, 224 pages, 8.25" by 5.75", indexed. $29.95. Available in the US from Music Direct, www.musicdirect.com, (800) 449-8333.
David A. Wilson, of Wilson Audio Specialties, must have an even better ear than I have given him credit for, or at least he has an enviable ear for language. On p.214 of Ken Kessler and Steve Harris' Sound Bites: 50 Years of Hi-Fi News, Wilson coins one of the most striking onomatopoeias that I have read in a dog's age: "Foink, foink. " In that terse spondee,…
The Graham Engineering 1.5 tonearm, originally introduced in 1990, was a thoughtfully executed design that logically addressed all of the basics of good tonearm performance—geometry, resonance control, rigidity, dynamic stability—with effective, sometimes ingenious ideas, while providing exceptional ease and flexibility of setup. Over time, designer Bob Graham came up with ways to significantly improve the 1.5's performance, including the replacement of its brass side weights with heavier ones of tungsten, an improved bearing with a more massive cap, various changes in internal wiring, a far…
Unfortunately, neutral balance works both vertically and laterally, meaning that the arm would list one way or the other and then remain there, depending on its lateral weight distribution—not good. Graham's new Magneglide system solves the problem while providing an easy means of adjusting both azimuth angle and antiskating force.
The Magneglide system consists of an ABEC-7 grade horizontal bearing assembly—the same as SME uses for the main bearing of its V arm—of very low mass. The bearing's actual mass is 10gm, but since a large percentage of this mass, including the ball-bearing…
Sidebar 1: Specifications
Description: Magnetically stabilized, fluid-damped unipivot tonearm. Mounting profiles: standard Graham Custom Mount and SME mount.
Price: $4275. Approximate number of dealers: Not disclosed.
Manufacturer: Graham Engineering, 25M Olympia Avenue, Woburn, MA 01801. Tel: (781)-932-8777 (Tuesday through Thursday only). Fax: (781) 932-8782. Web: www.graham-engineering.com.
Sidebar 2: Associated Equipment
Analog Sources: Simon Yorke S7, Nottingham Audio Deco turntables; Immedia RPM-2, Graham 2.2, Nottingham Ace-Anna tonearms; Lyra Titan, Lyra Helikon, Lyra Dorian mono, London Jubilee cartridges.
Digital Sources: Musical Fidelity Tri-Vista SACD player; Alesis Masterlink CD-R/HD recorder.
Preamplification: Manley Steelhead, Aesthetix Rhea, Musical Fidelity kW phono preamplifiers; Musical Fidelity kWp, Aesthetix Calypso preamplifiers.
Power amplifiers: Musical Fidelity kW, Audio Valve Baldur.
Loudspeakers: Wilson Audio Specialties MAXX2, Cabasse…
Michael Fremer returned to the Phantom in January 2006 (Vol.29 No.1):
In order to let me evaluate the Continuum Caliburn independent of the Cobra, Continuum made an adapter plate that allowed Graham Engineering's Phantom B-44 tonearm to be mounted opposite the Cobra. Continuum has the utmost respect for Bob Graham and his arm, considering it among the best out there.
Direct comparisons using the same cartridge told me that these are two of the finest tonearms I have ever heard. The Graham was slightly more reserved and grounded, the Cobra a bit more airy and effusive.
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Michael Fremer wrote about the Phantom B-44 II in October 2009 (Vol. 32 No.10):
Bob Graham has been refining his tonearm since it first appeared in prototype form as the McIntosh Excalibur, back in the 1980s. As reported by Ken Kessler in his terrific book McIntosh "...for the love of music...," Graham, then at MIT and independently developing his tonearm, was introduced to McIntosh's Gordon Gow, who was in Massachusetts visiting area audio retailers. Gow was sufficiently impressed to fund further development and help Graham patent his design. However, a hitch in the accompanying McIntosh…