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The LHH1000 should therefore feature the best linearity of any machine using the Philips 16-bit DAC chips; does this mean that it should automatically sound great? Well, good DAC performance is not all there is to good CD sound. (Nothing is ever that easy.) According to Ken Ishiwata of Marantz Europe, a keen-eared engineer who happens to be an audiophile and who contributed to the design of the Marantz CD12, the DAC contributes maybe 20% to the sound quality of a high-end CD player. The quality of the various power supplies contributes maybe another 20%. Then there is the analog circuitry,…
Sidebar 1: Review System
The primary system used to audition the LHH1000 was comprised of the following: all CD sources sat on AudioQuest Sorbothane isolating feet and were powered from an Inouye line conditioner. They fed a Mod Squad Line Drive Deluxe AGT passive control center, fitted with the new acrylic top cover. (This is conventional in having unbalanced inputs and outputs; I was unable to audition the LHH1000 from its balanced outputs, therefore.)
For comparisons, the Sony DAS-R1 decoder was driven from the Philips LHH1001 transport via coaxial cable, and the levels of all…
Sidebar 2: Measurements
Looking first at the analog stages, the output impedance of the unbalanced sockets was pretty much to specification at 57 ohms, while 0dB at 1kHz corresponded to an RMS voltage of 2.018V. Frequency response was flat throughout the audio band, with a faint hint of lift (0.1dB) at 20kHz and a lower roll-off point of –2dB at 4Hz. De-emphasis was within ±0.05dB from 125Hz to 8kHz, but reached a maximum error of –0.26dB at 16kHz. Crosstalk was below my measurement threshold at all frequencies.
The output stage was non-inverting; ie, absolute-polarity correct,…
Sidebar 3: Specifications
Description: 16-bit, 4x-oversampling, two-box CD player with IR remote control. LHH1001 player has "Favorite Track Selection," LHH1002 D/A unit has two coaxial inputs and two optical inputs for serial digital data streams, and two digital tape loops (one optical, one coaxial), with automatic switching between 44.1kHz- and 48kHz-sampled serial data. Specifications: Frequency response: 2Hz–20kHz ±0.1dB (unbalanced outputs), 20Hz–20kHz +0.3dB, –0.6dB (balanced outputs). Output impedance: 60 ohms (unbalanced), 100 ohms (balanced), 32 ohms (headphone). Maximum output…
Last month I reviewed three low-cost two-way loudspeakers (Tannoy E-11, Dana Audio Model 1, and the NHT 1.3), and was surprised by the overall high level of musicality they offered at their modest prices. In this review, I'll take a look at a somewhat more expensive, more ambitious product.
Cyrus is the name given to the higher-priced line of loudspeakers made by England's Mission Electronics. The entire Mission loudspeaker line includes six products under the Mission label and three under Cyrus. Mission also manufactures a wide range of electronics and CD players. The company has a long…
After some experimentation, I found the 782s performed their best about 36" from the side walls, 50" from the rear wall. Although the 782s are designed to point straight ahead, I preferred the slightly more forward midband presentation and tighter instrumental focus with them toed-in a few degrees.
The first thing that impressed me about the 782s was their smooth, silky midrange and the absence of aggressive treble so often heard from loudspeakers. I immediately suspected that I would enjoy the 782s. Next to midrange colorations that impart unnatural timbres to instruments and voices, I…
Sidebar 1: Review context
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 Well-Tempered 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…
Sidebar 2: Measurements
Starting with the Listening Environment Diagnostic Recording (LEDR) on the Chesky Test CD, I found the 782s did quite well on the "Up" test, the most difficult for a loudspeaker. The image clearly moved up from the loudspeaker, but flattened at the top into a "J" shape. Ceiling reflections could account for this, however. The "Over" test was similarly good, the 782s producing a solid "rainbow"-shaped image path between the two loudspeakers. The third LEDR test, "Lateral," was handled well by the 782s. They created precise, well-defined images at all points between…
Sidebar 3: Specifications
Description: Two-way, stand-mounted loudspaeker. Drivers: two 7" polypropylene-cone woofers, 1" ferrofluid-cooled, fabric-dome tweeter. Frequency response: 75Hz–20kHz ±1.5dB (–6dB point: 49Hz). Impedance: 4 ohms. Sensitivity: 91.5dB, measured at 1m/2.83V. Crossover frequency: 3.2kHz. Recommended amplifier power: 25–150Wpc. Input connection: two pairs of five-way binding posts (bi-amp/bi-wire). Maximum spl per pair: 109dB.
Dimensions: 10" W by 20" H by 13" D. Effective volume: 28 liters. Shipping weight: 61.6lbs (28kg).
Finish: black ash, walnut, rosewood,…
It was my dirty little secret.
Up until a few months ago, I had been plugging my hi-fi into a Furutech e-TP60 power conditioner, with the power conditioner going into the only AC receptacle in my small living room. I was too embarrassed to tell anyone about it, but from the very start of my hi-fi journey, I was concerned about that single electrical outlet: not only was it limiting, it was in desperate need of repair. This thing was no hospital-grade outlet. I’m not even sure if it you could call it “ghetto-grade.” The old and cracked plastic cover plate was pulling from the wall,…