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As there was only a short time available to do some measurements before this review had to be set in type, I therefore concentrated on a small number of parameters that Guy's auditioning suggested might be important. Guy had found the C-J PV9 to present a rather wider soundstage than the SP14. Accordingly, I looked at channel separation of the ARC unit.

Fig.1 shows the crosstalk from the left into the right channel, measured at the main right output with a 1V input signal applied to the left CD input. (The right input was loaded with 25 ohms, the…

The digital interface between CD transports and digital processors is a perfect example of this dilemma. The Sony/Philips Digital Interface Format (S/PDIF) standard was designed so that connecting two digital products required only one cable. This…

Music
The DT-10 quickly established itself as a topflight transport, particularly when driving the Krell Reference 64 processor. Its sonic characteristics were well suited to the Krell processor, forming a synergistic match. The Reference 64's strengths—pace and rhythm in particular—were enhanced when mated with the DT-10.

The DT-10's bottom end…

Description: CD transport with remote control. Digital outputs: coaxial on RCA jack, AES/EBU on XLR jack, TosLink optical, ST-type optical. Additional output: custom "Time Sync" output transmits clock to Krell transport separately from audio. Transport mechanism: modified Philips CDM-4 Pro controlled by Krell software.
Dimensions: 19" W by 3.5" H by 14" D. Weight: 21 lbs net, 35 lbs shipping.
Price: $7900 (1994); no longer available (2010). Approximate number of dealers: 55. Warranty: 5 years parts and labor on electronics, 3 years parts and labor on…

While in my listening room, the DT-10 drove the Krell Reference 64, Sonic Frontiers SFD-2, and Mark Levinson No.30 digital processors. The Reference 64 was an ideal match for the DT-10; this combination, connected with the separate Time Sync clock, allowed both products to achieve their optimum levels of performance. Other transports on hand for comparison were the similarly priced Mark Levinson No.31 ($8500) and the much less expensive PS Audio Lambda ($1695).

Loudspeakers were Thiel CS3.6es, driven by a Krell KSA-300S power amplifier via 8' runs…

This is the first CD-transport review to include a measurements section: We can now measure how much jitter appears in a transport's digital output using the UltraAnalog jitter analyzer described in the October and November 1993 issues of Stereophile. For comparison measurements on other products, see the November '93 feature story.

Fig.1 shows the DT-10's jitter (from the AES/EBU output) with three test signals: digital silence (solid trace), a –90dB, 1kHz sinewave (heavy dashed trace), and a full-scale, 1kHz sinewave (lightly dotted trace). The RMS…

Yes, the 2011 Stereophile Buyer’s Guide includes detailed listings for: LP Playback (cartridges, phono preamps, tonearms,…

One of their latest, and greatest, is Andrew Hill’s Point of Departure, a jaw-dropper from 1964 that sounds as fresh as tomorrow.

Hill, 33 at the time (he died in 2007, active till the end), was a precisely adventurous pianist and one of the most inventive composers of that transition era, pushing metric rhythms and chord-based harmonies right up to the edge…

In his July 2010 review, Wes Phillips was charmed by this speaker’s superb imaging, unmatched dynamic range, holographic soundstaging, and overall musicality, deciding that the G1 Giya was the “best” loudspeaker he’d ever heard. A few months later, in our October 2010 issue, John Marks was similarly impressed by Vivid’s less expensive V1.5 ($7650/pair).

JM: “Now that I’ve heard the V1.5, I can readily…