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Recordings of solo piano demonstrated that the Beethoven was capable of handling that most difficult instrument without muting or softening it, though the accent was more on the piano's felt and wood than on its strings. One disc in a treasure trove of classical LPs I was recently given is a 1981 Chandos Super-Analog recording of pianist Lydia Artymiw playing Schumann's Davidsbündlertänze and the Humoreske in B-flat Major (Chandos ABR 1029), recorded direct to Studer A80 at 30ips without noise reduction or compression. It's a wonderfully spacious, well-focused recording of a solo piano,…
Sidebar 1: Specifications
Description: Three-way, floorstanding, reflex-loaded dynamic loudspeaker. Drive-units: 1.1" silk-dome tweeter, 6" X3P-cone midrange driver, three 7" XXP-ribbed, XPP-polymer–cone woofers. Frequency range: 28Hz–22kHz, limits not specified. Sensitivity: 91dB/W/m. Impedance: 4 ohms average.
Dimensions: 42.7" (1095mm) H by 7.5" (190mm) W by 15.7" (400mm) D. Weight: 72 lbs (32.7kg).
Finishes: Maple, cherry, rosewood, piano black.
Serial Number Of Units Reviewed: 51418 (both).
Price: $4500/pair. Approximate number of dealers: 90. Warranty: 5 years parts…
Sidebar 2: Associated Equipment
Analog Sources: Continuum Audio Labs Caliburn, Simon Yorke S7 turntables; Continuum Cobra, Graham Phantom tonearms; Lyra Titan (stereo & mono), Dynavector DRT-XV-1S, Clearaudio Concerto cartridges.
Digital Sources: Musical Fidelity kW SACD/CD player, Alesis Masterlink BPT-modified hard-disk recorder.
Preamplification: Manley Steelhead, Einstein The Turntable's Choice phono preamplifiers; Musical Fidelity kWP preamplifier.
Power Amplifier: Musical Fidelity kW.
Loudspeakers: Wilson Audio Specialties MAXX2.
Cables: Phono: CrystalConnect…
Sidebar 3: Measurements
The Beethoven Concert Grand, measured on its tweeter axis without the grille, was of average voltage sensitivity, at an estimated 87.3dB(B)/2.83V/m, though it should be noted that this is significantly below the specified 91dB. The Beethoven is described as a "4 ohm" design, and its impedance remained between 4 and 6 ohms between 20Hz and 1.4kHz. However, as can be seen from the plot of its impedance magnitude and electrical phase against frequency (fig.1), the speaker's load drops to 2.83 ohms at 90Hz, which will stress tube amplifiers, given how much musical…
IRON AND WINE: Our Endless Numbered Days
Sub Pop 630 (CD). 2004. Sam Beam, Brian Deck, prods., engs. AAD? TT: 44:49
Performance ****
Sonics ****
Sub Pop 630 (CD). 2004. Sam Beam, Brian Deck, prods., engs. AAD? TT: 44:49
Performance ****
Sonics ****
No one in this big modern new century refers to a solo performer with an acoustic guitar as a "folk" musician. Folk music, which was originally music from the hills or the delta, became in the Sixties a popular music dominated by two strains, entertainment (Peter, Paul and Mary) and politics (Phil Ochs).
Today's "folk" singers are all about entertainment. They've lost the urge to write protest songs—but then, with the…
The ProAc Response One S was one of the very first products I reviewed for Stereophile back in 1994 (Vol.17 No.9). That review was such an over-the-top rave that John Atkinson felt obliged to audition the speakers himself before running my report. I assume he liked 'em too—after all, my review did see the light of day.
But I had second, even third thoughts when assigning to myself an Equipment Report on the Response One SC. In the years since that first review, I've been exposed to some awfully rarefied speaker designs—wouldn't it be embarrassing if I no longer found the…
Two completely different discs that have lived in my most-played pile recently illustrate this in their completely different ways. The first, Chesky's wonderful CD of Wagner orchestral excerpts with Charles Gerhardt conducting the National Philharmonic Orchestra (CD161), has a stunning "Wotan's Farewell and Magic Fire Music" recorded in All Saints Church, Petersham, in the UK. Here, the ProAcs re-created the acoustic space of a relatively large church. In absolute terms, that space was re-created as somewhat—maybe even quite a bit—smaller than was realistic, but there was no doubt that the…
Sidebar 1: Specifications
Description: Two-way, reflex-loaded, stand-mounted minimonitor. Drive-units: 0.75" cloth-dome tweeter with honeycomb-wound voice-coil and ferrofluid-cooled coil assembly; 5" polypropylene-cone woofer with high-temperature voice-coil. Crossover frequency: 5kHz. Frequency response: 38Hz-25kHz, ±3dB. Impedance: 8 ohms nominal. Sensitivity: 86dB/W/m. Recommended amplification: 20-100W.
Dimensions: 12" H by 7" W by 9.25" D. Weight: 36 lbs/pair.
Finishes: standard: teak, oak, walnut, cherry, red mahogany, black ash; others available.
Serial numbers of units…
Sidebar 2: Associated Equipment
LP Playback: Linn LP12 with Naim Armageddon power supply, Naim ARO tonearm, van den Hul Frog phono cartridge.
CD Playback: Mark Levinson No.39, Meridian 508-24.
Preamplifier: Conrad-Johnson ART.
Amplifiers: Cary CAD-300 SEI; Krell FPB 600, KAV-300i.
Cables: Kimber KCAG interconnects, Kimber Black Pearl speaker cables.
Accessories: Audio Power Industries Power Wedge 112, Magro Stereo Display Stand, Foundation 24" stands.
Sound Treatment: ASC Tube Traps, Studio Traps, Bass Traps; RPG Abffusors; psychasthenic feline floor-covering.—Wes…
Sidebar 2: Measurements
As expected from its diminutive size, the Response One SC is not very sensitive. I calculated its B-weighted sensitivity as 84.4dB/2.83V/m, which is, however, 2dB or so more sensitive than the BBC LS3/5A minimonitor. Its plot of impedance magnitude and frequency against frequency (fig.1) reveals it to be a relatively easy load for an amplifier to drive, which explains why Wes Phillips found it worked well with the single-ended Cary amplifier. However, its impedance does vary widely, meaning that amplifiers with high source impedances will change their frequency…