Alvin Gold Listens to Copycode
I put a question to my Japanese hosts toward the end of a particularly impressive traditional meal: What status does traditional Japanese music have with the Japanese themselves? In all the several days I had been in the country, I had heard barely a note of Japanese music, whether on radio, television, or even back at the works when we were having hi-fi gear demonstrated.
The answer was monosyllabic and instantaneous: "None." OK, there's probably a tinge of Oriental inscrutability about this answer, but it really does seem that Western (read…
THE PERSUASIONS: Live in the Whispering Gallery
Hammer n' Nails HNCD 1988 (CD only). Frank Kulaga, Larry Collen, engs.; David Ackerman, prod. D–D. TT: 34:39
Ah, the Persuasions...! These guys and their acappella Brooklyn street-corner doo-wop can make me feel good faster than any group I know. After listening to this strong, loving recording, I listened to all their other records one after another. Best kind of rave I know.
This issue of Stereophile celebrates The Persuasions' first and latest albums, 20 years apart (see my feature on the Enigma Retro reissues from the…
Some time ago in these pages, Anthony H. Cordesman observed rather ungraciously that the whole line of Hafler electronics "could do with reworking." This was interpreted by many readers—including the good people at the David Hafler Company—as meaning that AHC felt the entire Hafler line to be mediocre. In fact, he does not. (He had given a Hafler product a positive review a few issues previously.) Tony's comment, however, did express a sentiment that most of us at Stereophile have shared for some time: a feeling that Hafler products had slipped from the position of sonic preeminence which…
In the presence of much louder sounds of similar frequency, that –70dB at 10kHz may or may not be audible. Whether or not it is so is simply one of those things about which engineers and audio perfectionists have disagreed about ever since there were meters that could measure distortion that low. What is certain, however, is that a 70dB null on a SWDT is not necessarily proof that the amplifier is audibly perfectly "accurate." And with the XL-280, 70dB is the maximal amount of null obtainable with the SWDT. (In fact, I could not achieve that high a value in my own tests; see "Nothing to Hide…
After the null was as good as I could get it by ear, I played some music signals and listened through the monitor to the nature of the residual sound. It was very quiet, so much so that I had to plug headphones into the appropriate outlet on Hafler's box in order to tell that the residual seemed very, very clean. Even with discs which I know to be rather worn (and thus a rich source of mistracking transients), the sound from the monitor speaker remained sweet and clean.
This, I thought, bade well for the sound of the XL-280.
Sound Quality
But when I finally got around to…
Sidebar 1: Specifications
Description: Solid-state stereo power amplifier with Excelinear circuitry and tweaking adjustment. Rated power: 145Wpc into 8 ohms at 0.05% distortion.
Dimensions: 17" W x 10" D x 5" H, overall.
Price: $600 (1987); no longer available (2010).
Manufacturer: The David Hafler Company, Pennsauken, NJ 08109 (1987); Hafler, 546 S. Rockford Drive, Tempe, AZ 85281. Tel: (866) 464-2353. Web: www.hafler.com/home/.
I may have had 4000 LPs and a perfectly wonderful Linn LP12 turntable, but I could go for weeks on end without listening to a single LP. But I still thought of myself as one of the vinyl faithful, even as I rationalized my digital-centric listening tendencies. I loved analog in theory—I just couldn't bring myself to listen to it all that much.
Lucky me, my vinyl doldrums were interrupted when, last summer, I reviewed a VPI Classic turntable for Home Entertainment magazine. I put the Linn aside and hooked up the VPI. Wow, what a difference a turntable can make! One record led to the next…
Neil Young: Official Release Series, Discs 1–4
Reprise 519173-1(4 LPs, Limited Edition Vinyl Boxed Set). 2009. Neil Young, David Briggs, Elliot Mazer, Jack Nitzsche, Henry Lewy, prods.; John Nowland, reissue eng. AAA.
One of the biggest music stories of 2009 is the "return" of vinyl. For grizzled vets, particularly of the audiophile ilk, vinyl never went away in the first place, but that's a rail for another time.
A flagrant irony about this latest vinyl revival is that much of it has been led by the same record labels who, not so long ago, worked so assiduously to kill the…
A decade ago, many predicted that amplifiers with switching or class-D (footnote 1) output stages would come to dominate high-end audio. In a post–Peak Oil world in which the price of energy would always continue to rise, a class-D amplifier's very high efficiency in converting AC from the wall outlet into speaker-driving power would be a killer benefit. Although a conventional push-pull class-B amplifier has a theoretical efficiency of 78.5%, which would seem usefully high, this efficiency is obtained only at the onset of clipping; the need for the output devices to carry a standing bias…
The M2 is relatively hefty, but offers a superb level of fit'n'finish, as well as a high maximum continuous output power of more than 200Wpc into 8 ohms. In common with NAD's amplifier philosophy, more power—300Wpc into 8 ohms—is available for short-term transients. Also reflecting NAD tradition, the M2 offers optional Soft Clipping, selectable with a rear-panel switch and realized in the digital domain. The M2 uses three power supplies, all switch-mode types: one for each channel's output stage, and a third for the input stage and control section.
Technical details
In its simplest…
