Sidebar 4: Measurements
Because of the Burmester 970's large number of permutations of digital and analog filters, I performed most of the measurements at the fixed outputs and at the MaxRez/Sharp digital filter and Linear analog filter settings used by KR for most of his auditioning. I checked other settings as appropriate.
The Burmester didn't invert signal polarity from any of its outputs (the XLR jacks are wired with pin 2 hot). Its maximum output from the fixed-level outputs was 4.047V (balanced) and 2.025V (single-ended), sourced from 132.6 ohms and 66.5 ohms, respectively…
More than a decade ago, I bought a new pair of speakers and sought to find the most suitable cables for them. After auditioning a number of borrowed sets, I enlisted my daughter to confirm my selection. She grew up in a household where there was always good music playing on good equipment, but had no active interest in either. To placate Dad, she listened to a few of her own recordings with each of the various cables and then, lo and behold, reached the same conclusion I had. In fact, she described the differences almost exactly as I would have. I was ecstatic. Not only did it confirm my…
Three LEDs on the right side of the main panel monitor the frequency accuracy of the incoming digital signal. As we are all aware, digital signals often arrive at the converter in less than perfect condition. Not only can the transmission be plagued with jitter (short-term variations in data word-clock frequency) but the source (transport, DAT, digital broadcast, etc.) actually can be operating at a slightly different data/clock frequency than is specified for its type. Both of these factors can affect the operation of the phase-locked-loop (PLL) circuits, which are responsible for capturing…
Sidebar 1: mbl 1621 CD transport
Of all this marvelous hardware, I most enjoyed using the $14,900 mbl transport; I just couldn't keep my hands off it! Its massive black enclosure matches that of the 1611HR DAC, with its central, convex display module flanked by wonderful little gold buttons. Somehow, I wasn't bothered by the placement of the Play, Stop, and Pause buttons on the right—the display module clearly separated them from the track and search buttons. Operation, whether via the remote or the front panel, was straightforward, as were the display options.
The rear panel had…
Sidebar 2: Specifications
1611HR: Fully balanced digital/analog converter with 24-bit delta-sigma DACs, and full remote control. Digital inputs: two each of ST, TosLink, AES/EBU, RCA, BNC. Analog inputs: one (RCA and XLR). Digital outputs: two RCA S/PDIF. Analog outputs, fixed volume: 1 balanced, 2 unbalanced. Analog outputs, variable volume: 1 balanced, 2 unbalanced. Rotary analog volume control.
Dimensions: 18.72" (480mm) W by 5.85" (150mm) H by 16.77" (430mm) D. Weight: 33 lbs (15kg).
Serial number of unit reviewed: 21718.
Price: $15,500. Variable analog output: $2900; analog…
Sidebar 3: Associated Components
Most of the extended listening for these reports was done with the California Audio Labs CL-20 CD/DVD player as the source. I made this choice to eliminate any possible bias from using a transport designed and constructed to mate to a specific DAC. As the common source, the CL-20 provided both S/PDIF (coax and optical) and AES/EBU outputs, as well as CD/DVD compatibility with up to 24/96 digital output. I did this also to maintain a level playing field without auditioning all the possible combinations of transport and DAC and interconnection. Let's see:…
Sidebar 4: Measurements
Interestingly, while Kal thought the mbl to have a higher output level—4.038V balanced and 2.024V single-ended from the fixed output jacks—than the Burmester and Mark Levinson DACs that he also reviews in this issue, it was actually only 0.08dB higher. The analog output was sourced from 200 ohms (balanced) and 100 ohms (unbalanced). The big mbl doesn't invert signal polarity from either set of outputs (the XLR jacks are wired with pin 2 as hot).
This sample of the 1611HR wouldn't lock to data with a sample rate higher than 48kHz. Its frequency response on…
"I've know I've seen this amp before," I thought to myself when I lifted the $1200 Muse Model One Hundred out of the box, and I wasn't thinking of Robert Harley's review of the identical-looking Muse Model One Hundred Fifty reviewed in January 1990, either. No, I'd seen this amp before, somewhere else, in some other magazine, but with a different manufacturer's name.
I knew it! It was in an issue of Home & Studio Recording, but I'd just thrown it out with a bunch of other old magazines. And trash pickup was today! I threw open the door to watch the garbage truck blunder down…
If there's one word that sums up both the external and internal construction of the Muse 100, it's "clean." The internal parts, what few there are, include high-quality metal-film resistors and film capacitors. Interestingly, the film caps bear the "SCS-Muse" name, and appear identical to the excellent Rel Caps. The brushed aluminum front panel, with its eight shiny hexbolts, exudes a feeling of understated solidity. I have only two complaints, one practical and one personal. On the practical side, Muse should have provided the 100 with binding posts that could be tightened with a nut-driver…
Sidebar 1: Specifications
Description: Solid-state stereo power amplifier. Power output: 100Wpc, 20dBW (8 ohms), 200Wpc, 20dBW (4 ohms). VOltage gain: 30dB. Sensitivity: 890mV. Absolute polarity: non-inverting. Input impedance: 51k ohms. Distortion: less than 0.5% THD+noise. Frequency response: –3dB at 13Hz and 200kHz. Output impedance: 0.6 ohms, 20Hz–20kHz. Output current capability: 45A maximum, peak–peak into 0.1 ohm. Power consumption: 90W idle, 600W maximum (limited by 5A line fuse).
Dimensions: 3.5" H by 18.9" W by 13.4" D. Weight: 28 lbs.
Serial number of review sample:…
