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Some products I review touch my heart and affect how I see all other products that I review afterwards. VK Audio's made-in-Japan $1785 EleKit TU-8600R 300B single-ended tube amp kit was one of those. This amp uses Swedish-made Lundahl transformers (and super-premium parts) to deliver near-state-of-the-art performance at a price anyone with a soldering iron could afford. Because it made such a good pairing, this amp had a huge impact on my review of the $650/pair Klipsch RP-600M loudspeakers. Because it made such a good pairing, I called up John DeVore (DeVore Fidelity) and said, "Hey man,…
Looking at the Digital Link II's build quality and circuitry, it's hard to believe that it can sell for $499 at retail. The Digital Link II shares the same appearance as PS Audio's SuperLink and UltraLink processors, but has a 4"-shorter chassis. The ¼"-thick front panel uses PS Audio's familiar touch-sensitive switches that turn the unit on and select between coaxial and optical inputs. LEDs above these switches indicate when the unit is locked to the digital source. A third LED illuminates when power is applied.
The rear panel features a pair of high-quality, gold-plated RCA output…
Sidebar 1: Review context
My reference playback system has remained nearly constant for the past year, providing a stable platform on which to audition and compare digital processors. I auditioned the four processors reviewed in this issue under identical conditions and at matched levels. Additionally, the reference playback system has remained nearly constant for the past year, providing a stable platform on which to audition and compare digital processors. The converters under review fed an Audio Research LS2 line-stage preamplifier, which in turn drove a Mark Levinson No.23.5 power…
Sidebar 2: Measurements
Like other PS Audio processors, the Digital Link II has a high output voltage—3.6V when decoding a full-scale, 1kHz sinewave. Output impedance was extraordinarily low, measuring 2.1 ohms at 20Hz, increasing only slightly to 2.6 ohms at 20kHz. This combination of high output voltage and low output impedance makes the Digital Link II ideal for use with passive level controls.
The Digital Link II's frequency response (fig.1) showed a gradual but rather early HF rolloff, being down 0.2dB at 10kHz and 0.6dB at 20kHz. This was very similar to the Sigma's rolloff…
Sidebar 3: Specifications
Description: 18-bit, 8x-oversampling D/A converter. Inputs: one coaxial (RCA jack), one optical (Toslink jack). Outputs: one unbalanced stereo pair. Frequency response: 20Hz–20kHz, ±0.5dB. THD: <0.01%.
Dimensions: 17" W by 2.5" H by 7.25" D. Weight: 11 lb.
Price: $499 (1992); no longer available (2019). Approximate number of dealers: 160. Warranty: 3 years parts and labor, transferrable.
Manufacturer: PS Audio Inc., Grover City, CA 93483 (1992); PS Audio, 4865 Sterling Drive, Boulder, CO, 80301 (2019). Tel: (720) 406-8946. Web: www.psaudio.com.…
As the sides of the slim-line Timbre Technology TT-1 DAC are radiused rather than flat, it's elegant compared to its typical boxy competition. While the TT-1's handsome shape stands out more than your average audiophile device, its curved sides help create a stronger, less resonant shape than the usual box, and serve as just one of the many elements contributing to a high degree of mechanical integrity and damping.
There are no fasteners showing except those on the bottom and backplate, and the hefty unit feels solid as a rock. The faceplate—finished in black or silver—and bottom are…
Another killer CD which we love was sent to us by my sister-in-law Martine, who lives in Paris: Michel Jonasz's La Fabuleuse Histoire de Mister Swing (MJM 2292-42338-2). Golden String Imports can get you this CD, but this German-pressed but oh-so-French double-disc isn't too difficult to find—they had 'em at Tower. We seem to always come back to "Le Temps Passé" and "Si Si Si Le Ciel," on "Disque" 2.
Slapping on a set of Harmonix RF-11s once again cleaned up a touch of sssssibilance on this recording, oddly more apparent on Disque 2 zhan on zuh Disque 1. But what a great CD! You don't…
Robert Harley takes a listen
I auditioned the Timbre through the same playback system described in my review of the Exposure XVII preamplifier elsewhere in this issue. I listened to the Timbre on its own and in direct comparisons with the Sonic Frontiers SFD-2, in both balanced and single-ended modes. The following observations were made by listening to both processors' balanced outputs.
From the outset, I was impressed by the Timbre. Although the TT-1 sounded very different from the SFD-2, it had some appealing qualities. The most salient of the Timbre's strengths was its…
Sidebar 1: Jonathan Scull's System
I consider it my stunning good fortune to have auditioned the Timbre Technology TT-1 DAC with three Totally Drop-Your-Sox transports: the Forsell Air Bearing, the C.E.C. TL 1 Belt-Drive Gold Robbie the Robot (well, it looks like a Japanese robot to us), and the "Champagne Wishes, Caviar Dreams" Esoteric/TEAC VRDS P2S, $7k the pop. In many ways, the Tale of the Timbre was also the Tale of Three Transports. One of the more amusing pranks I've enjoyed playing on acquaintances, both audiophile and otherwise, has been to play a CD on one of these benchmark…
Sidebar 2: Measurements
The Timbre had a low maximum output voltage, measuring just 1.36V from the single-ended outputs marked "Main." The single-ended outputs labeled "Buffered" produced a whopping 6.7V, a result of the additional buffer amplifier driving this output. The balanced outputs had a maximum output voltage of 2.7V. Source impedance was a low 52 ohms from the "Main" outputs, 500 ohms from the "Buffered" outputs, and 104 ohms from the balanced outputs. The much higher output impedance from the buffered outputs is incongruous; Timbre suggests the "Buffered" output should be used…