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…
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Sidebar 1: Specifications
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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Sidebar 2: Associated Equipment
Analog Sources: Simon Yorke, SME Model 10 turntables; Graham 2.0, Immedia RPM, SME IV.Vi tonearms; Lyra Parnassus D.C.t, Lyra Evolve 99, Transfiguration Temper Supreme and Spirit cartridges.
Digital Sources: Audio Alchemy DDSPro CD transport, Musical Fidelity X-Ray CD player, Marantz DR17 CD recorder, EAD DSP-9000 Mk.3 D/A processor.
Preamplifiers: Ayre K-1, Audio Research Reference Two & Reference Phono Stage.
Power amplifiers: Musical Fidelity Nu-Vista 300, Dyna Stereo 70.
Loudspeakers: Sonus Faber Amati Homage, Infinity Prelude MTS.…
Sidebar 3: Measurements
In the main, the Apogee PSX-100's D/A section was tested using the digital AES/EBU digital output of an Audio Precision System One Dual Domain. I also made use of a two-card PrismSound DScope v2.02 and a Miller Audio Research Jitter Analyzer, which runs on a National Instruments DSP PC card.
Looking first at the Apogee's D/A section, with its output set to –10dBV (which is how MF used the converter), the front-panel multiturn pots can still be adjusted to give a maximum output level of 7.3V. With the pots set to give a standard CD output level of 2V RMS,…
A reader who asked to remain anonymous wrote to tell us the results of some tests he saw conducted on one of our top-rated loudspeaker systems. Frequency-response checks showed that the system had virtually no deep bass, a midbass peak, a midrange slump, and a high-end rise. Further checks had shown gross distortion at input levels of over about 6W, and a definitely limited (although adequate for Row-M listening) maximum output-level capability. Said reader then went on to ask how we could possibly consider such a speaker to be one of the best available.
Well, we aren't going to argue…
Sidebar: Letters You'll Never Believe
From a well-known amplifier manufacturer
Editor: Thank you for your letter expressing your dissatisfaction with our SPA-140 amplifier. The "hardness" that you hear in the sound is not due to your associated equipment, but stems from a drastic increase in the amplifier's distortion at low power levels. This, we hasten to add, is really quite a common thing in solid-state amplifiers that were designed in a hurry in order to meet the New York hi-fi show deadline.
There is nothing you can do about the problem, except to buy our next-year'…