Digital Source: Ayre CX-7e.
Analog Source: Linn LP12 turntable with Lingo power supply, Ittok tonearm, AudioQuest AQ7000nsx cartridge.
Preamplifiers: Convergent Audio Technology SL-1 Ultimate, PrimaLuna ProLogue Three.
Power Amplifiers: Audiopax Eighty-Eight Mk.II monoblocks, PrimaLuna ProLogue Seven, PS Audio C-100.
Integrated Amplifier: PS Audio GCC-100.
Cables: Interconnect: Nordost Quattro Fils (single-ended, balanced). Speaker: Nordost Valhalla. AC: PS Audio xStream Power, TARA Labs Decade.
Accessories: Arcici Suspense Rack,…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
Like its predecessor, the Avantgarde Uno Series Two, the Uno Nano's voltage sensitivity was both extraordinarily high and close to specification, at 102dB(B)/2.83V/m. It could be argued that, at normal playback levels, this speaker has no moving parts! The speaker's plot of impedance magnitude and phase (fig.1) shows the behavior of the tweeter and the midrange unit, the woofer module being self-powered. The large peak at 53Hz presumably indicates the fundamental resonance of the midrange driver, which is well below the horn's cutoff frequency, while I assume the…
We audio writers have our niches. Mikey loves analog, Artie likes to play with horn speakers and assorted oddball British kit, and I really enjoy reviewing affordable speakers. There's something exciting about hearing the fruits of the labors of a creative designer who's applied his talents to meet a stringent price point and created a speaker that can entice into our hobby the financially challenged music lover.
But I have another passion: expensive tube gear. I so enjoyed my time reviewing the Audio Research Reference 110 amplifier that I bought the review sample (see my…
The Conductor operated flawlessly during its tenure here, as I would have expected: my Audio Valve Eclipse has proved to be the most reliable piece of audio electronics I've ever owned.
The hearing is believing
As I fired up the Conductor for the first time, I had a thought. Given this preamp's lofty price, it would be nice to be able to say that it was completely uncolored, and had no sonic shortcomings whatsoever.
A few days of listening later, it had become clear that, without equivocation, I could say just that. Three months of listening later, having found no flaws…
Sidebar 1: Specifications
Specifications: Tubed line preamplifier with separate power supply and remote control of volume and source selection. Tube complement: four 6922, four 6N6P/6H30. Inputs: 6 pairs, independently configurable for balanced or single-ended operation. Outputs: 4 pairs (2 XLR, 2 RCA), one Tape Out pair (RCA). Input impedance: 47k ohms. Output impedance: 300 ohms. Bandwidth: 5Hz–200kHz. Gain: 14dB.
Dimensions: Amplifier: 20" (508mm) W by 5.5" (140mm) H by 14.8" (380mm) D. Power supply: 20" (508mm) W by 3.1" (80mm) H by 14.8" (380mm) D. Combined weight: 55 lbs (25kg…
Sidebar 2: Associated Equipment
Analog Sources: VPI TNT IV turntable, Immedia RPM tonearm, Koetsu Urushi cartridge; Rega Planar 3 turntable, Syrinx PU-3 tonearm, Clearaudio Virtuoso Wood cartridge.
Digital Sources: Lector CDP-7T, Creek Destiny CD players.
Preamplification: Vendetta Research SCP-2D phono stage, Audio Valve Eclipse line stage.
Power Amplifiers: Audio Research Reference 110, Creek Destiny integrated amplifier.
Loudspeakers: Alón Circe, Monitor Audio Silver RS6, Linn Majik 109, Dynaudio Excite X12.
Cables: Interconnect (all MIT): Magnum, MI-350 CVTwin…
Sidebar 3: Measurements
I primarily used Stereophile's loaner sample of the top-of-the-line Audio Precision SYS2722 system (see the January 2008 "As We See It" and www.ap.com) to examine the Audio Valve Conductor preamplifier's measured performance.
Using the preamplifier's impossible-to-read display and following the instructions in the manual, I set up the first pair of line-level inputs for "XLR" operation and the second for "cinch" (ie, RCA). The maximum gain for full balanced operation (ie, XLR to XLR) was 19.3dB for the left channel, 18.8dB for the right, both figures…
Can a piece of studio gear find happiness on an audiophile's equipment stand? More important, can an audiophile derive satisfaction from its sound?
That's what I was determined to find out when I took delivery of this $3900 converter, which, though designed for professional recording studios, has found favor with audiophiles (so far, mostly Japanese) wishing to transfer their LPs, 78s, lacquers, and other analog source material to a high-density digital format.
The PSX-100 is an extremely flexible two-channel, 24-bit/96kHz A/D and D/A converter featuring Apogee's…
From the front panel you can set: the A/D sync source (44.1/88.2, 48/96, etc.), the output resolution (UV22 16, UV22 20, 24-bit), the optical output signal (S/PDIF or ADAT), a soft-limiting circuit that gives you maximum digital signal level without "overs" (hard overloads), independent left and right mutes, ABS, meter function (A/D or D/A), D/A input, and MDM, the last used for selecting track pairs when recording to ADAT or Tascam MDMs. There are also two pairs of screwdriver-adjustable level pots for D/A and A/D level. An optional video sync card is available for DVD mastering.
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Sidebar 1: Specifications
Description: 24-bit, two-channel, high-density A/D–D/A converter with UV22 processing. A/D sampling rate: 44.1–48kHz, 88.2–96kHz. D/A sampling rate: 32–106kHz. Frequency range: 10Hz–20kHz. A/D relative THD+N: –110dB (–0.01dBFS). Dynamic range: 116dB. Channel separation: left/right, 120dB (worst case). Analog inputs/outputs: one pair each on balanced XLR. Digital inputs /outputs: two AES/EBU, S/PDIF, ADAT (optical), TDIF (25-pin D). Power consumption: 25W.
Dimensions: 19" W by 1.75" H by 14.25" D. Weight: 12.5 lbs.
Serial number of unit reviewed: 2078.
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