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Description: Remote-controlled D/A processor with user-selectable digital filters. Digital inputs: AES/EBU, 2 S/PDIF on coax, 2 S/PDIF on TosLink, asynchronous USB 1.1 Class 1, asynchronous USB 2.0 Class 2, Type A port for iPod/iPhone/iPad. Analog outputs: 1 pair balanced on XLRs, 1 pair unbalanced on RCAs. Frequency response: 10Hz–20kHz, +0.1dB/–0.5dB. Signal/noise: >110dB CCIR (unweighted). Harmonic distortion (1kHz): 0.0008% (20Hz–20kHz, unweighted). Maximum output level: 2.2V single-ended, 4.4V balanced. Output impedance: 47 ohms, single-ended; 94 ohms,…
Analog Sources: Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B phono cartridge.
Digital Sources: Ayre Acoustics C-5xeMP universal player; Apple 2.7GHz i7 Mac mini laptop running OS10.7, iTunes 10, Pure Music 1.86; Shuttle PC with Lynx AES16 soundcard & dual-core AMD Athlon processor running Windows 7, Foobar 2000, Adobe Audition 3.0; dCS Debussy, Musical Fidelity M1DAC, Logitech Transporter D/A converters; Ayre Acoustics QA-9 USB A/D converter; Empirical Audio Off-Ramp 4 USB-S/PDIF converter.
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I examined the Arcam FMJ D33's electrical performance with Stereophile's loan sample of the top-of-the-line Audio Precision SYS2722 system (see www.ap.com and the January 2008 "As We See It"); for some tests, I also used my vintage Audio Precision System One Dual Domain. The maximum output level at 1kHz was 4.732V from the balanced XLR jacks, 2.184V from the single-ended RCAs, the latter 0.76dB higher than the CD standard's 2V. Both pairs of outputs preserved absolute polarity (ie, were non-inverting). The XLRs are wired with pin 2 hot. The output impedance was a…
Here, we get a behind-the-scenes look into the making of Dawn McCarthy and Bonnie “Prince” Billy’s upcoming album, What the Brothers Sang, inspired by the music of the Everly Brothers.
The album was recorded and produced by David Ferguson at Furguson and John Prine’s Butcher Shoppe Studio in Nashville, TN, so you know it sounds good. The video footage, shot by Lara Miranda,…
Are you curious to hear J. Gordon Holt's lecture on "Why Hi-Fi Experts Disagree"? Maybe you are yearning for Sam Tellig, the "Audio Anarchist" as identified in the liner notes, to whisper sweet nothings into your ear with his radio-friendly baritone while checking a 1kHz reference tone at –20dB. Or how would you like a dog named Ralph to howl at you while configuring your left and right speakers? All this and more can be found on Stereophile's Test CD 1, now available in the Stereophile eCommerce Store.
Thanks…
This morning, I revisited Stereophile's office sample of Beats Studio headphones ($299.95).
At one point, my naive ears loved these headphones. Well not loved.
I had always considered them dark, forcefully colored, and weighty, but I appreciated the bulky physical presence they turned the music into. Johnny Greenwood became JOHNNY GREENWOOD. But now, with nearly three years of working at Stereophile under my belt, I have a more informed ear. The Beats Studio sound distant. They sound veiled. They sound congested. They are noisy…
For the music lover interested in exploring the surprisingly vast and colorful world of new cassette releases…
If ever one needed an object lesson on how to put on a successful demo, the team at AudioVision San Francisco provided. At an evening entitled "A Sonos Wireless Event," held on the evening of February 7, at least three demonstrations were held simultaneously: the first in the store's main "High-End System" room, which in itself involved two different systems; a second in the store's smaller demo room, again including a switch of Triangle loudspeakers, Bel Canto Design electronics, and Nordost cabling; and at least one more in…