Description: Output-transformerless (OTL) tubed monoblock power amplifier. Feedback: overall, voltage loop; local, degenerative cathode. Power output: 190W into 16 ohms (25.8dBW), 140W into 8 ohms (21.5dBW), 80W into 4 ohms (16dBW). Frequency range: 0.8Hz–100kHz. S/N ratio: 92dB. Harmonic and IM distortion, 100 watts out into 8 ohms: typically 0.220.75%. Input impedance: 100k ohms. Signal polarity: non-inverting. Power consumption: 200 watts, idle; 700 watts, maximum.
Dimensions: 19" W by 6.75" H by 19" D. Weight: 120 lb/pair.
Price: $5225/pair (1986); no…
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Sidebar: Specifications
A few issues back, in my review of the Mark Levinson No.26 and No.20 (May 1988, Vol.11 No.5), I mused on the fact that the preamplifier, being the heart of a system, had a more significant effect on sound quality in the long term than, say, the loudspeakers. It was worth spending more on a preamplifier, therefore, than on loudspeakers. Needless to say, this viewpoint was regarded by many readers as dangerously heretical. I decided, therefore, to investigate the sonic possibilities of budget-priced preamps in this issue, even the most expensive being less than one-tenth the price of the Mark…
Sidebar 1: Review System
Putting my customary preamplifier, the Krell KRS-2, to one side, the references used for this review were the $635 Audio by Van Alstine Super PAS (reviewed in October 1998), and the $659 PS Audio 4.6 (reviewed in September 1988 by Tom Norton) used with its normal external power supply, not the $469 M-500 upgrade. For reference purpose, the RIAA response of the PS 4.6 is Flat through almost the entire audio band, with a well-extended bass response, though it starts to roll off at the top of the top audio octave.
Power amplification was provided either by…
Sidebar 2: Measurements
Fig.1 shows the frequency response of the complete preamplifier, measured via the phono inputs with the tone controls out of circuit. This is commendably flat between 40Hz and 30kHz, with any error within the tolerance of the inverse network. There is a faint hint of lift between 3kHz and 16kHz, however, which may tie in with the subjective nature of the treble. Integral infrasonic filtering curtails the response below 25Hz, this sensible in view of the less-than-ideal turntables likely to be used with this inexpensive component. The measured response rolls off…
Sidebar 3: Specifications
Description: Solid-state preamplifier with four line-level inputs, one phono input switchable between MM and MC, two tape loops, one video loop, and bass and treble controls. Specifications: Frequency response (phono): 40Hz–100kHz ±0.2dB. Frequency response (line-level): 4Hz–100kHz +0 –3dB. Input impedance: 47k ohms in parallel with 100pF (MM phono), 180 ohms in parallel with 100pF (MC phono), 24k ohms (line). Output impedance: 1200 ohms (main). Maximum output level: 10.75V RMS into 1M ohm. Sensitivity (phono): 2.5mV RMS input for 1V output (MM), 260uV RMS input…
Sidebar 4: Postlude
Do I still think that the preamplifier is the sonic heart of a system? 'Fraid so. Nothing that I heard while conducting these budget-priced preamplifier reviews caused me to shift from my position (stated in the November 1987 "As We See It") that when it comes to acting as a wide-open window to the music, every facility and function added to a basic preamplifier detracts, even if slightly, from the ultimate sound quality. If I had no money limitations, I would be forced to choose something like the Mark Levinson No.26 to get the best sound from LP (that is, if I ever…
Silent Voices (New Amsterdam Records) comes from the Grammy Award-winning Brooklyn Youth Chorus. The recording, from young forces who have performed with everyone from the New Philharmonic and Mariinsky Orchestra to Barbara Streisand and Elton John, showcases works composed for their ongoing multimedia, multi-composer concert series, Silent Voices. Some of these works, which have already been heard at the Brooklyn Academy of Music, National Sawdust, and other prestigious venues, are sure to find their way into the songbooks of many a professional and student organization.
One measure of…
Even newbie audiophiles can be smitten with the vintage hi-fi bug. Keyboardist and composer John Escreet was once a streaming kind of guy. Then he heard the Fisher 500-C/Falcon LS3/5a-endowed system of bassist Matt Brewer, partner of former Stereophile editorial coordinator Jana Dagdagan.
"Their system sounded so realistic," Escreet recalled from his Brooklyn apartment, where he lives with his girlfriend, vocalist Teresa Lee. "It gave a lot more clarity to the recordings. When I'd go around to Matt and Jana's apartment, music through their system sounded focused and warm. It sounded like…
Music of Edgar Varèse, Vol.2
Arcana, Déserts, Offrandes, Chanson De Là-Haut (Song From High)
Dona Precht, soprano, Columbia Symphony Orchestra, Robert Craft, conductor.
Columbia Masterworks MS-6362 (LP). John McClure, Thomas Frost, prods. TT: 24:45.
Arcana, Déserts, Offrandes, Chanson De Là-Haut (Song From High)
Dona Precht, soprano, Columbia Symphony Orchestra, Robert Craft, conductor.
Columbia Masterworks MS-6362 (LP). John McClure, Thomas Frost, prods. TT: 24:45.
In electronic music, the sounds of musical instruments, natural noise-makers and electronic signal generators are recorded on tape, modified by running them at higher- or lower-than-normal speeds and manipulating their tonal content, and then combined in rhythmic and tonal patterns to create entirely new forms of music.
…
I recently experienced an alarming audiophile episode. John Atkinson wanted to send me BorderPatrol's Digital to Analogue Converter SE, so that I could write the Follow-Up published in the November issue. But he wouldn't tell me anything about Herb Reichert's original review of the product, which had not yet been published. Instead, he said, cryptically, "If this is a 'great' DAC, I'll have to hang up my measurements." I took this to mean Herb liked it, but JA's test rig did not.
Sure, why not? Go ahead and send me the DAC, I thought. I'd love to hear what something covered in audio fur…