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It was immediately obvious that the TZ-9 can't be all things to all listeners. While it proved capable of producing an impressive sound with most rock and classical organ recordings, where its deep bass, excellent sense of dynamics, and neutral high-frequency balance helped communicate the music's vitality, orchestral recordings didn't fare as well. I couldn't escape a rather nasal coloration in the lower midrange that most affected the sound of naturally miked violins, lending them a "hooded" quality. Voices, too, were a little nasal, but male spoken voice was more affected by a boomy…
Sidebar 1: Specifications
Description: Three-way, reflex-loaded, floor-standing loudspeaker. Drive-units: 1" hard-dome ("Ceramic-Graphite") tweeter, 3" hard-dome ("Ceramic-Graphite") midrange unit, two 9.5" pulp-cone woofers. Crossover frequencies: 600Hz, 4kHz. Frequency range: 20Hz–40kHz. Sensitivity: 91dB/W/m (2.83V). Nominal impedance: 4 ohms. Amplifier requirements: 60–300W.
Dimensions: 48.75" (1238mm) H by 14.5" (370mm) W by 20.75" (425mm) D. Weight: 143.25 lbs (65kg) each.
Price: $4000/pair (1989); no longer availabe (2010). Approximate number of dealers: 50.
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Sidebar 2: Review System
Power amplification was provided by a Krell KSA-50 power amplifier, and the speakers were bi-wired with AudioQuest Clear speaker cable to the mid/tweeter, and with Monster M1 speaker cable. (Bi-wiring with the unwieldy Clear cable was not possible due to the limited clearance around the terminal posts.) The preamplifier was my usual combination of the Mod Squad Line Drive Deluxe AGT and Vendetta Research SCP2 phono preamp, the TZ-9s' high sensitivity proving a good match with this combination. The Linn LK1/LK280 pre-/power combination reviewed in this issue also…
Sidebar 3: Measurements
Looking at the way the TZ-9's impedance changes with frequency (fig.1), the LF enclosure-resonance peak lies at 47Hz, with the tuning of the ports revealed by the impedance minimum half an octave lower at 32Hz. The speaker would best be characterized as a 4-ohm design. The sensitivity was high, at around 91dB for a 2.83V input (measured using a 1/3-octave pink-noise band centered on 1kHz). The TZ-9 will go very loud with moderately powerful amplifiers (as long as they have no difficulty driving 4-ohm loads).
Fig.1 Pioneer TZ-9, electrical impedance…
Thomas J. Norton reviewed the Krell KRC phono module in March 1994 (Vol.17 No.3):
In the January 1994 Stereophile I reviewed the $6300 Krell KRC remote-control preamplifier as a line-stage–only device. While most preamps these days do not come standard with a phono stage (sad but true, according to manufacturers I've surveyed), most do make some provision for customers who still value analog reproduction.
Such is the case with the KRC. For an extra $500 (a reasonable price for this option among today's high-end preamps), the KRC owner may obtain the KRC Phono Module at any time.…
Sidebar: Measurements
The measurements presented here for the KRC Phono Module phono preamplifier were performed with a 47k ohm load in the MM configuration, and a 250 ohm load in the MC position (the latter chosen because it's 10 times the 25 ohm source impedance of our Audio Precision test set). In accordance with our normal practice, all phono-stage measurements were taken at the KRC's tape outputs. For logistical reasons, and because two KRCs with phono modules were available, the unit measured was not the one auditioned. However, the MC RIAA frequency response and overload margin…
Sidebar 3: RH's 1990 System
The reference system used to audition the four loudspeakers reviewed here includes the VTL 225W Deluxe monoblock and Krell KSA 200 amplifiers, driven by a Theta DSPro Basic digital processor through the passive Electronic Visionary Systems Stepped Attenuator. The analog front end was a Well-Tempered Turntable and tonearm fitted with a Sumiko Boron vdH cartridge. Phono preamplification was provided by the Precision Audio outboard phono module, connected to the passive attenuator. The phono preamp has enough gain for the moving-coil Sumiko and is able to drive…
Since 1992, Stereophile has named a few choice components as its "Products of the Year." In doing so, we happily recognize those products that are capable of providing musical pleasure far beyond our formal review period. If one of our reviewers raved in Stereophile about a component, that component is mentioned here. These are products that not only define the current audio landscape, but that we hope will someday be seen as classics—products to be handed down to future generations of audiophiles and music lovers.
Traditionally, we have awarded components in five primary…
2010 LOUDSPEAKER OF THE YEAR
Wilson Audio Specialties Sasha W/P ($26,900/pair; reviewed by Art Dudley, Vol.33 No.7, July 2010 review)
2010 RUNNERS-UP (in alphabetical order)
Acapella High Violoncello II ($80,000/pair; reviewed by John Atkinson, Vol.33 Nos. 9 & 10 review)
Aerial Acoustics Model 20T V2 ($32,000/pair; reviewed by John Atkinson, Vol.32 No.11 review)
JL Audio Fathom f212 subwoofer ($6000; reviewed by Larry Greenhill, Vol.33 No.4 review)
DeVore Fidelity Gibbon 3XL ($3700/pair; reviewed by Sam Tellig, Vol.33 No.6)
Dynaudio Excite X12 ($1200/pair;…
2010 JOINT ANALOG SOURCE COMPONENTS OF THE YEAR
Bauer Audio dps turntable ($9250; reviewed by Art Dudley, Vol.33 No.4 review)
Spiral Groove SG2 turntable with Centroid tonearm ($15,000; reviewed by Brian Damkroger, Vol.33 No.6 review)
2010 RUNNERS-UP (in alphabetical order)
Lyra Delos phono cartridge ($1500; reviewed by Michael Fremer, Vol.33 No.8)
Miyajima Shilabe MC phono cartridge ($2800; reviewed by Art Dudley, Vol.33 No.10 review)
Oracle Delphi Mk.VI turntable ($13,300, as reviewed; reviewed by Michael Fremer, Vol.33 No.3)
Ortofon MC A90 phono cartridge…