search
But I'd be misleading you if I gave the impression that one would ultimately want to get by by using the Rotel RB 1080 to drive the Revels, or even the B&Ws. The 1080 was not the last word in soundstage openness or grain-free treble, and always retained a slightly withdrawn mid- to upper treble. Switching swiftly between power amps in less than a minute, it became apparent that amps such as the Simaudio W-5, the Bel Canto eVo, and the Sonic Frontiers Power-3 did not suffer from the 1080's minor foibles in low-level microdynamics and treble reserve. Furthermore, those other amps ably…
Sidebar 1: Specifications
Description: Solid-state stereo power amplifier: Line-level inputs: 1 pair RCA, 1 pair XLR. Outputs: 1 pair of multiway speaker binding posts per channel. 12V signal switching input and output for remote power control. Output power (continuous): 200Wpc into 8 ohms (23dBW), 20Hz-20kHz at 0.03% THD max, both channels driven. Input sensitivity for full output: 1.5V RMS. Input overload level: 5V. Input impedance: 32k ohms. Distortion at 1W: 0.02% max at full power, 0.01% max at half power. Frequency response: 15Hz-100kHz, +0.5dB/-3dB. S/N ratio: 116dB, A-weighted.…
Sidebar 2: Associated Equipment
Two-Channel System
Analog source: Heybrook TT2 turntable, SME III tonearm, Ortofon SME30H cartridge.
Digital sources: CAL Audio CL-20 DVD/CD player, Meridian 508.24 CD player, Sony SCD-XA777ES SACD player, Mark Levinson No.360 DAC.
Preamplification: Sonic Frontiers Line-3 preamplifier, Audiolab 8000PPA phono stage, TacT RCS 2.0 digital EQ/room correction.
Power amplifiers: Bel Canto eVo 200.2 monoblocks, Simaudio W-5, Sonic Frontiers Power-3.
Loudspeakers: Revel Ultima Studio, B&W Signature 800.
Cables: Interconnect: AudioQuest…
Sidebar 3: Measurements
After the usual one-hour preconditioning at one-third power into 8 ohms, the Rotel RB 1080's chassis was pleasantly hot. However, the shrouded internal heatsinks (not those on the front panel) were way too hot to touch, which I assume is why they're protected from prying fingers.
The RB 1080's input impedance, measured at 1kHz, was to spec at 34k ohms (unbalanced) and 38k ohms (balanced), and the amplifier didn't invert signal polarity at either input. The voltage gain (into 8 ohms) was 28.4dB via the unbalanced RCA jack. This is slightly on the high side…
Over the course of several months, during which time I auditioned the Vacuum Tube Logic TL-5.5 tubed line-stage preamp with a variety of power amps and loudspeakers, I began to reassess many long-held notions about the "characters" of solid-state and tube components. Sometimes the TL-5.5 revealed its musical pedigree with all the midrange juiciness and sublime textural detail that one traditionally associates with a triode front-end, while at others it evinced a level of focus, transparency, and frequency extension I more readily associate with solid-state purity—all in a stylish package…
I was thus inspired to play my best solo piano recordings to hear the true impact of each line stage on the transition from the upper midrange to the lower treble, where reside, in my experience, much of the air, inner detail, and depth of character of music. I used Acoustic Zen's Silver Reference interconnects and Hologram speaker cable, for their ability to depict that mid-treble transition in such a natural, unforced manner—they're never merely bright but sparkling, open, and expansively detailed. They also have an ease and depth of midrange presentation, and a tuneful, well-damped bass…
Sidebar 1: Specifications
Description: Tubed line-level preamplifier with remote control and optional phono stage. Tube complement: two 12AX7, four 12AT7 (optional MM/MC phono stage uses four 12AX7, two 12AT7). Remote-control functions: Volume, Mute, Phase. Gain: 20dB. Inputs: 6 line-level. Outputs: 2 single-ended RCA, 1 balanced XLR, 1 tape loop, 1 external processor loop, 1 record. Frequency response: 1Hz-60kHz, +0/-3dB. Output impedance: 195 ohms. Input impedance: 100k ohms (20k ohms minimum). Maximum output: 31V, !x1% THD. Channel separation: >80dB at 20kHz, 100dB at 1kHz. Left/…
Sidebar 2: Associated Equipment
Analog sources: Rega Planar 25 turntable, Rega RB600 tonearm, Grado Statement Master cartridge; Marantz PMD430 portable cassette recorder.
Digital sources: Sony SCD-777ES SACD/CD player, California Audio Labs CL-20 DVD-V/CD player and Delta 24-bit/96kHz DAC.
Preamplifiers: Musical Fidelity Nu-Vista, Blue Circle Galatea, Rogue Audio Magnum Ninety-Nine.
Power amplifiers: Musical Fidelity Nu-Vista 300, Mesa Baron, VTL MB-450.
Loudspeakers: Joseph Audio RM33si Signature, Meadowlark HotRod Shearwater.
Cables: Interconnect: Acoustic Zen Silver…
Sidebar 3: Measurements
The VTL preamp offered a maximum voltage gain of 20.5dB into 100k ohms and was noninverting from both its balanced and unbalanced outputs with the Phase LED green. The input impedance at 1kHz was 12k ohms, while the unbalanced output impedance was 184 ohms across most of the audioband, rising to a still low 409 ohms at 20Hz.
As a result of the increase in source impedance at low frequencies, the low-frequency response rolled off to reach -3dB at 16Hz into the punishing 600 ohm load (fig.1, bottom pair of traces below 200Hz). However, into 100k ohms the TL-…
A strange disguise; still, write it down,
it might be read. Nothing's better left unsaid.—Keith Reid
it might be read. Nothing's better left unsaid.—Keith Reid
As I sit writing this review on the eve of Thanksgiving 1989, I'm reminded that it is exactly seven years since I first heard the CD in my own system. I had borrowed an early Marantz CD-63 (identical to the top-loading Philips Magnavox FD-1000 reviewed by J. Gordon Holt in Vol.7 No.2) and a Sony CDP-101, and, while impressed with some aspects of the sound—lateral imaging precision, low-frequency definition, the lack of wow & flutter, particularly on piano recordings—I was disturbed…