I first saw the Rogers High Fidelity 65V-1 a few years ago, silently displayed at a hi-fi show somewhere—impossible now to say where or precisely when. But I do remember one thing: This ostensibly rugged, single-ended, tubed integrated amplifier looked like a hell of a lot of fun. For just $3999, the US-made 65V-1 gives the user the ability to choose between two types of output tube—at time of purchase, the buyer selects EL34 or KT88 power pentodes, and the tubes not taken can be later bought and swapped in—and between…
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Art Dudley reviewed the Rogers 65V-1 in January 2019 (Vol.42 No.1):
Autumn in New York—watching Central Park change colors. Also time to catch the Bill Charlap Trio during their annual residency at the Village Vanguard: Charlap at the piano, Peter Washington on bass, and Kenny Washington at the drums in the Church of Jazz, the room the Bill Evans Trio called home in the 1960s and '70s. Exploring the great traditions of jazz and American song has become a Charlap trademark.
Born in 1966, Charlap grew up immersed in the New York music world. His father, Mark "Moose" Charlap (1928–1974), was a composer with significant Broadway credits (in the 1950s–70s…
Matson: How many tunes do you have in your head at this point? Five hundred? A thousand?
Charlap: I don't know—more than that, maybe. It's not that for a jazz musician we just remember E-flat-minor-seven. In my case, I take the whole piece—it is the lyrics, the melody, the harmony, the composer's aesthetic, the jazzman's aesthetic, and all the things in between that shape the vision of the song.
[We listen to "Too Late Now," by Burton Lane and Alan Jay Lerner, from the Bill Charlap Trio's Notes from New York (2016, Impulse! B0024830-02).]
Matson: I love the way you…
Sidebar: A Jazz Rorschach Test
We adjourned to a restaurant for lunch—I'd forewarned Bill Charlap that I would be conducting a Jazz Rorschach Test I'd created for him. Between bites, he gave me quick responses to a list of great songwriters, composers, pianists, and singers I ran by him in no particular order:
Johnny Mercer—Swing. The American Poet. Genius of language. Every word drips off the notes that he writes.
Irving Berlin—America. The center of what it is to be an American songwriter.
Cole Porter—Sexy. The risk-taker, and the great developmental composer.…
Back in the mid-1990s, I believed that the design of D/A processors was fundamentally a solved problem. The resistor-ladder, multi-bit DAC chips of the 1980s, with their linearity errors, had been replaced by sigma-delta types that had minimal linearity error down to the lowest signal levels. All that remained for the designers of PCM D/A chips was to increase resolution and dynamic range to the theoretical limits, and to improve the mathematical precision of oversampling digital filters to match the performance of the 20- and 24-bit recordings that had just begun to be released.
Twenty…
However, Ms. Podger's violin sounded a bit reedier than I was used to, as did Giuliano Carmignola's instrument in his performance of Bach's Violin Concerto in E with Concerto Köln (16/44.1 ALAC file, from Archiv 0289 479 2695 5), which sounded too thin. And when I played the Queen Live at Wembley '86 CD (Hollywood Records HR-61104-2)—triggered by publicity for the movie Bohemian Rhapsody, which was being heavily promoted when I was preparing this review—Freddie Mercury's voice in "Bohemian Rhapsody" was, through the Chord's Incisive Neutral filter and for want of a better word, incisive. I…
Sidebar 1: Specifications
Description: D/A processor with 10-element Pulse Array Design DAC and separate 5V power supply. Digital filter length: 49,152 taps operating at 16Fs. Digital inputs: USB Type B, 2 coaxial S/PDIF (BNC jacks), 1 TosLink S/PDIF. Analog outputs: 1 pair unbalanced (RCA). Maximum output: 3V, 2V, 1V, switchable. Frequency response: 20Hz–20kHz, ±0.2dB. Channel separation: 138dB at 1kHz. Dynamic range: 124dB (A-weighted). THD: 0.0001%, 1kHz at 2.5V into 300 ohms. Noise modulation: "none measurable."
Dimensions: 6.3" (160mm) W by 1.6" (41mm) H by 2.85" (72mm) D.…
Sidebar 2: Associated Equipment
Digital Sources: Roon Nucleus+ media server, iPad mini running Roon 1.5; Ayre Acoustics C-5xeMP disc player; iFi Audio Pro iDSD, Mytek Brooklyn, PS Audio PerfectWave DirectStream D/A processors; Z-Systems RDP-1 digital preamplifier (used as digital format converter).
Integrated Amplifiers: Ayre Acoustics EX-8, Cambridge Audio Edge A.
Power Amplifiers: Lamm M1.2 Reference monoblocks with external passive volume control.
Loudspeakers: KEF LS50, Rogers LS3/5a, Wharfedale Diamond 11.2.
Cables: Digital: AudioQuest Coffee (USB) & Vodka (…
Sidebar 3: Measurements
I measured the Chord Electronics Qutest using my Audio Precision SYS2722 system (see the January 2008 "As We See It"), using both the Audio Precision's optical and electrical digital outputs and USB data sourced from my MacBook Pro running on battery power with Pure Music 3.0 playing WAV and AIFF test-tone files.
Apple's USB Prober utility identified the Chord as "Qutest" from "Chord Electronics Ltd," with the serial number "413-001." The Qutest's USB port operated in the optimal isochronous asynchronous mode. Apple's AudioMIDI utility revealed that, via…
It's been reported on the Strata-gee consumer electronics news website that Björn Erik Edvardsen (known as BEE), who was the creator of the historic NAD 3020 integrated amplifier, passed away on December 16 from Myeloma/bone cancer. BEE had worked continuously with the company from 1976 until just a few months ago, when he left his position as NAD's Director of Advanced Research to focus on his battle with cancer.
Edvardsen joined NAD in 1976 as its first engineer and second full-time employee after founder Marty Borish (who died in 2017), working out of NAD's London, UK headquarters,…