Analog Sources: Thorens TD-124 Mk.II turntable; EMT 997, Schick tonearms; Shindo SPU, EMT OFD 25 & OFD 65 cartridges.
Digital Source: Ayre Acoustics QB-9 USB DAC (with Apple iTunes).Preamplification: Auditorium 23 Hommage T1, various ">Bob's Devices step-up transformers; Shindo Masseto, Fi 2b preamplifiers.
Power Amplifiers: Shindo Corton-Charlemagne, PrimaLuna DiaLogue Seven monoblocks, Electrocompaniet AW400.
Integrated Amplifier: Ayre Acoustics AX-7e.
Loudspeakers: Audio Note AN-E/SPe HE, Wilson Audio Specialties Sophia 2.
Cables:…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
I performed the quasi-anechoic measurements on the Gradient Helsinki 1.5 with DRA Labs' MLSSA system and a calibrated DPA 4006 microphone. The nearfield measurements were done with an Earthworks QTC-40 microphone, which has a ¼" capsule. Gradient specifies the Helsinki 1.5's voltage sensitivity as 85dB/2.83V/m; my estimate was 84.4dB(B)/2.83V/m, which is within experimental error of the specification. However, this is lower than average; as Art Dudley noted, the Helsinki 1.5 was a little more power-hungry than the speakers he's accustomed to. The impedance…
Everyone wants something different from a loudspeaker. Some people value midrange neutrality above all, while others will sacrifice some of that accuracy to get extended lows or a speaker that will play immensely loud with only a few watts of power. Some want stereo imaging that is sufficiently delicate, stable, and accurate that the speakers open a transparent window on the recording's original performing space. Some will sacrifice all of the above to get a speaker whose "jump factor" can jerk zombies out of their stupor. And there are those who are prepared to lose just a little bit of…
Rather than reaching for Mahler symphonies, I found myself listening to recordings of small numbers of instruments and with a fairly restricted dynamic range—such as our December 2009 "Recording of the Month," Anouar Brahem's The Astounding Eyes of Rita (CD, ECM 2075). Even so, the grumbly bottom-octave notes of the double bass in the middle of the slow movement of Brahms' Symphony 4, in the recording by Carlos Kleiber and the Vienna Philharmonic (SACD, Deutsche Grammophon/Esoteric ESSG90018) were satisfyingly audible, if somewhat miniature in scale. Similarly, while the softly struck bass…
Sidebar 1: Specifications
Description: Two-way, sealed-cabinet, stand-mounted loudspeaker. Drive-units: 0.75" (19mm) magnetically shielded, aluminum-dome tweeter; 5" (110mm) magnetically shielded, Radial2-cone woofer. Frequency response: 75Hz–20kHz, ±3dB. Nominal impedance: 6 ohms ("easy to drive"). Sensitivity: 83.5dB/2.83V/m. Recommended amplification: >15W. Power handling: 50W program.
Dimensions: 12" (306mm) H by 7.5" (189mm) W by 8" (202mm) D, including grille and terminals. Weight: 14 lbs (6.3kg).
Finishes: All real-wood veneers: Cherry, Black Ash; add $200/pair for…
Sidebar 2: Associated Equipment
Digital Sources: Ayre C-5xeMP universal player; Simaudio Moon Evolution 750D CD player; dCS Puccini SACD player & USB-input D/A converter with Apple Mac mini for media storage; Apple iPod Classic 160GB.
Preamplifier: Simaudio Moon Evolution P-8.
Power Amplifiers: Classé CTM-600 monoblocks, Simaudio Moon Evolution W-7, Balanced Audio Technology VK-55SE.
Integrated Amplifier: Peachtree iDecco.
Loudspeakers: BBC LS3/5A.
Cables: Digital: Kimber Illuminations Orchid AES/EBU, Stereovox CV2 electrical S/PDIF, Belkin USB. Interconnect (balanced…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Harbeth's frequency response in the farfield, and an Earthworks QTC-40 for the nearfield and spatially averaged room responses. Harbeth specifies the P3ESR as having a sensitivity of 83.5dB/W/m. My estimate was slightly less than this, at 83dB(B)/2.83V/m, but this is within experimental error of the specification. This is a significantly lower sensitivity than the norm, meaning that the little Harbeth will need a fairly powerful amplifier to play at acceptable levels in all but…
John Atkinson returned to the Harbeth P3ESR in October 2010 (Vol.33 No.10):
When I reviewed the latest iteration of Harbeth's P3 minimonitor, the P3ESR ($2195/pair), for the August issue, I found that this pocket-size speaker punched above its weight. Other than its necessarily limited low frequencies and lack of power handling, the P3ESR was not out of place in an expensive high-end system, particularly for those with a small room. However, I had a problem with the samples sent for review (serial nos. 0472L and R): Toward the end of the review period, I was giving the speaker a workout…
Over the years, Stereophile and its writers have been taken to task for doing, thinking, and saying any number of things. We've been raked over the coals for enjoying acoustic music, electric music, old music, new music, light music, serious music, and music God put here as a test, just to see if we're smart enough to hate it. We've been taken to the woodshed for comparing new products to known references; for failing to compare new products with known references; for borrowing known references for the purpose of such comparisons; for taking advantage of professional discounts so that we can…
Let's go back to that first example: Apart from whatever entertainment value seems promised by lavish photos and a well-written story, articles about vintage components whose restorations make predominant use of modern parts and materials have little or nothing to offer the overwhelming majority of readers. If, say, a dozen different Marantz 7 preamplifiers can be restored using a dozen different brands of polystyrene caps, every such unit is representative of nothing, and tales of their reconstruction are irrelevant to all but one owner and a handful of rebuilders.
A case in point:…