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Alternatively, if you're interested in sophisticated DSP functions such as upsampling, downsampling, equalization, room correction, and so on, at high sample rates, you're going to need a faster box. Choose a computer with an 8th or 9th Generation Intel i7 or i9 processor (or the equivalent AMD Ryzen CPU), with fast RAM and a solid-state drive for storing the OS and programs. You can buy a so-called silent or quiet PC from the Internet, build your own, or buy a purpose-built computer constructed by a specialist for dedicated audio use. That last option is the easiest way to assure that your…
One of my biggest surprises since I became the editor of Stereophile—and so started focusing more on all things audiophile—is how often I find myself thinking about the ethics of this hobby. This is unusual for me: I dislike moralism and prefer aesthetics to ethics.
A small example: Recently, while I was writing an audio review, I started to type the phrase "pride of ownership." I don't know who coined it, but I know I've read it more than a few times, and I've probably written it myself. It's so common that it's practically a cliché.
But that's not why I didn't type it. Rather,…
In the realm of loudspeaker reviews, John Atkinson's measurements and my empirical observations have one important equivalency: Both are meaningless abstractions until confirmed by your listening experience.
Both are contingent on factors that are necessarily obtuse and not especially controllable.
Fortunately, the only loudspeaker assessment that really matters depends entirely on consensus: you and your buddies, and your buddies' buddies, and their children, and their children's friends, listening, analyzing, debating, then listening some more—then buying and selling over…
As my "Mystery Train" obsession lifted, editor Jim Austin posted a YouTube link on Facebook that immediately rekindled my love for the most colorful and iconic band of New Orleans in general and Mardi Gras in specific: the Wild Tchoupitoulas. I went immediately to their eponymous album, featuring the Meters and the Neville Brothers, which I bought when it blasted onto the downtown art scene in 1976 (LP, Island ILPS 9360). I have played this well-recorded vinyl disc 100 times, but now I was enjoying it in streaming digital (44.1/16 FLAC, Island Records/Tidal).
Halfway through "Meet de…
Sidebar 1: Specifications
Description: 2.5-way, floorstanding, reflex-loaded loudspeaker. Drive-units: 1" aluminum-dome tweeter, two 5.25" polycellulose-cone midwoofers. Crossover frequencies: 1.8kHz, 2.8kHz. Frequency range: 44Hz–40kHz. Sensitivity: 89dB/2.83V/m. Nominal impedance: 6 ohms. Recommended amplifier power: 20–200W.
Dimensions: 7.5" (190mm) W by 36.7" (930mm) H by 10" (255mm) D. Weight: 31.6lb (14.3kg).
Finish: Pantone black or two-tone wood.
Serial numbers of units tested: TR0050-G30002167 & '2130. ("Designed and Manufactured in the USA. Made in China").
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Sidebar 2: Associated Equipment
Analog sources: Dr. Feickert Analogue Blackbird turntable with Jelco KT-850L tonearm, Etsuro Urushi Cobalt Blue cartridge or (alternatively) My Sonic Lab Ultra Eminent Ex MC cartridge; AMG Giro G9 turntable & 9W Turbo tonearm and Hana ML MC cartridge.
Digital sources: Mac mini computer running Audirvana Plus 3.2; Integra DPS-72 CD player (transport only); Schiit Bifrost Multibit, Chord Qutest DACs.
Preamplification: Excel Sound ET-U50, EMIA Phono step-up transformers; Tavish Design Adagio phono preamplifier; Rogue RP-7 line preamplifier.
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Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the JBL Stage A170's frequency response in the farfield, and an Earthworks QTC-40 mike for the nearfield responses. I left off the loudspeaker's grille for the measurements.
JBL specifies the A170's sensitivity as 89dB/2.83V/m, which is both higher than average and confirmed by my measurements. Props to JBL for an honest sensitivity specification. The impedance is specified as 6 ohms; while the solid trace in fig.1 shows that the impedance does drop below 6 ohms in the lower…
Romantics rejoice! In an age where ice seems to melt faster than hearts, there are still great musicians who uphold the Russian tradition of romantic music. Vadim Gluzman, Johannes Moser, and Yevgeny Sudbin may not (yet) have the cachet of David Oistrakh, Mstislav Rostropovich, and Sviatoslav Richter, who famously came together with Herbert von Karajan to record Beethoven’s Triple Concerto, but their new SACD of Tchaikovsky’s Piano Trio in A minor, Op. 50, and Arno Babajanian’s sole Piano Trio (BIS-2372) places them firmly in the grand Russian tradition of emotive, give-it-all-you’ve-got…
What's the point of reviewing a pair of monoblock amplifiers that costs more than most people spend on two or even several cars— and far more than most audiophiles spend on an entire music system? That's a good question. Another is: Why should I write this review when, just seven years ago, I reviewed a pair of darTZeel monoblocks that look exactly like this new pair?
I realize that products such as the darTZeel NHB-468 ($170,000/pair) are for the very few, but the very few include far more people throughout the world than you may realize— people who can afford such costly audio products…
I'd had on repeat vinyl play the Jamie Saft Quartet's Blue Dream (Rare Noise RNR095LP), preparing to write a review that unfortunately hasn't materialized yet but will. It's beautifully recorded, as is everything produced by this label, whether recorded on tape or computer. The music might remind you of the classic Coltrane quartet, but with Saft in place of McCoy Tyner, Nasheet Waits subbing for Elvin Jones, Brad Jones for Jimmy Giuffre, and Bill McHenry for the big C.
With the NHB-468s swapped in, cold out of the box, I listened again. Big sonic change! All for the better, building on…