Sidebar 2: Measurements
"The PH-77 is a sweet, tonally well-balanced, quiet performer that produced a large, authoritative sonic picture packed with honest detail," summed up Michael Fremer, adding that "its weakest suit was its inability to produce full macrodynamic expression." I am not sure what measurement would indicate that to be the case, but from its flight-case packing to its substantial construction—it weighs 65 lbs—and its informative blue front-panel display, the PH-77 is an impressive piece of gear.
I measured the PH-77 (serial no. 2410003) with Stereophile's loan…
The loudspeaker coming under the microscope this month emanates from north of the border. The Canadian loudspeaker industry has benefited enormously in the last few years from having the measurement, testing, and listening facilities of Canada's National Research Council in Ottawa made available to it on a commercial basis. Unlike the US or even the UK, where a new speaker designer has pretty much to rely on his own resources, having to invent his own test procedure as well as design the product, the Canadian equivalent can have his loudspeaker tested under standard conditions, quickly…
Sidebar 1: JA's 1988 System
The test procedure followed that established for my previous loudspeaker reviews: each pair was used both with a Krell KRS2/KSA-50 combination and the Linn LK1/LK2 remote-control amplification system. Source components consisted of a Marantz CD94 CD player used via its optical digital output to feed a Marantz CDA94 outboard DAC unit, and a Linn Sondek/Ittok/Troika combination sitting on a Sound Organization table. Interconnect for the Krell system was Monster M1000, with Monster M1 speaker cable. The Linn system was used with Linn interconnect and speaker…
Sidebar 2: Measurements
The frequency response of the Camber 3.5A was measured in the listening window—spatially averaged to minimize room standing-wave problems—using a 1/3-octave warble-tone generator; the nearfield low-frequency response of each speaker was also measured with a sinewave sweep to get an idea of the true bass extension relative to the level at 100Hz. The change of impedance with frequency and the voltage sensitivity (using 1/3-octave pink noise centered on 1kHz) were also measured.
The plot of impedance with frequency (fig.1) shows the characteristic pair of…
Robert Harley reviewed the Camber 3.5ti in October 1990 (VOl.13 No.10):
Plateau Camber is a Canadian loudspeaker manufacturer which concentrates on building small, moderately priced systems. The company started as Edon Acoustcis and was the Canadian distributor of Rega products. It began by making loudspeakers under the Rega name but changed to Camber when Rega set up its own North American distribution. Edon then sold the company to stand manufacturer Plateau.
Their products range from the $300 model .7t to the $1000, floor-standing 5.0ti. The second-from-the-top-of-the-line 3.…
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…
Sidebar 4: 1990 Measurements
Playing the LEDR recording from the Chesky jazz sampler and test CD, I thought the 3.5ti did moderately well in the "Up" test. The image moved slightly above the loudspeaker and stopped without achieving the height sometimes heard. The "Over" was a little better, with the image leaving the left loudspeaker and traveling toward the right. The "Lateral" test, the easiest for a loudspeaker to reproduce, was good, the test signal producing a continuous image between the loudspeakers. I next drove the 3.5ti with a sinewave oscillator while feeling and listening to…
Sidebar 5: Specifications
Description: two-way, reflex-loaded loudspeaker. Drive-units: 1" plastic-dome tweeter (Camber 3.5A) or 1" metal-dome tweeter (3.5ti), 8" polypropylene-cone woofer. Crossover frequency: 3kHz. Frequency response: 48Hz–20kHz ±2dB (3.5A); 45Hz–23kHz ±3dB, 80Hz–2kHz ±1dB (3.5ti). Sensitivity: 90dB/W/m. Nominal impedance: 8 ohms. Amplifier requirements: 15–175W.
Dimensions: 23.5" H by 12.5" W by 10.25" D (3.5A); 24" H by 10.5" W by 11.5" D (3.5ti). Weight: 35 lbs each.
Finish: black ash.
Price: $669/pair (3.5A); $699/pair (3.5ti); no longer available (2010).…
Compared to the Krell KSA-300S power amplifier that I also review this month, the KRC preamp's design is, at first glance, almost conventional. But its thoroughly high-end internal design has been equally well thought-out and executed. Its main, four-layer, glass-epoxy circuit board is for the audio signal, DC power, and ground—two layers for the latter are said to minimize noise. The gain stages are pure class-A and complementary. As in the amplifier, the circuit is direct-coupled, with servo circuits controlling the DC offset. The fully regulated power supply is housed in an external…
The slight softness I noted in my earlier evaluation of the KSA-300S power amplifier was, apparently, not inherent in the amplifier itself. It largely disappeared when the 300S was paired with the KRC, replaced not by any degree of hardness or brightness, but simply by a more alive, open quality. To be fair to the Consummate (it remains a superb preamp, and I intend to continue using it in situations in which precise, repeatable control of listening level is required), it was not able to benefit here from the undeniable synergy which exists between the new Krell KSA-300S and the KRC.
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