Digital sources: Oppo Digital UDP-105 universal disc player, Baetis Prodigy-X PC-based music server running JRiver Media Center v25 and Roon, exaSound e38 Mark II D/A processor. QNAP TVS-873 NAS.
Preamplifiers: Audio Research MP1, Parasound P7.
Power amplifiers: Benchmark AHB2, Hegel C-53, Classé Sigma Mono, Parasound Halo A 31.
Loudspeakers: Revel Ultima2 Studio, Vivid Kaya45.
Cables: Digital: AudioQuest Coffee (USB); Analog interconnects: AudioQuest Earth/DBS balanced, Kubala-Sosna Anticipation (RCA); Speaker cables: Benchmark Studio&…
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Sidebar 3: Associated Equipment
Sidebar 4: Measurements
I measured the Benchmark LA4's performance with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). The gain for the balanced inputs to the balanced output with the volume control set to "+15" was exactly 15dB, and reducing the control to "0.0" resulted in a gain of 0dB—ie, the output voltage was the same as the input voltage. For the unbalanced inputs to the unbalanced output, the maximum gain was 5.25dB. Pressing the "–20" mute button on the touchscreen reduced the balanced gain by 20dB, the unbalanced gain by 10dB. The preamplifier preserved…
No one thinks I have a good memory, but I can easily remember a few sentences from my March 2016 review of Elac's Debut B6 loudspeaker. The sentence I remember best: "I might be able to forgive you for liking Paul more than John, George, or Ringo, but if you don't grasp the genius of Mel Tormé, only God can save you." I felt guilty for bringing God into the story, but I sincerely wanted everyone to experience the wonder of the Velvet Fog (Tormé) and to realize how good Mel could sound on a pair of $279.99/pair upstart speakers with audiophile pretensions.
And I can't forget this one: "…
At that point, I had not received Andrew Jones's placement instructions, and the BS243.4s were about 30" from the wall behind them, measured from their cabinet backs. In search of Mel's true voice, I began moving the speakers backward—slowly. While the difference wasn't huge, every inch made a noticeable difference. When they reached 12" from the wall, the Velvet Fog was restored: I was able to enjoy the Carinas at their full tonal potential. I did all my critical listening with the BS243.4s five feet apart, on 24" Sound Anchors Reference stands, and never more than six feet from my…
Sidebar 1: Specifications
Description: Two-way reflex- loaded, stand-mounted loudspeaker. Drive-units: JET folded-ribbon tweeter, 5.25" (133mm) aluminum-cone mid/bass driver. Crossover frequency: 2.7kHz. Frequency response: 46Hz–30kHz, ±3dB. Nominal impedance: 6 ohms. Minimum impedance: 4.8 ohms. Sensitivity: 85dB/2.83V/1m). Recommended amplifier power: 30–150Wpc. Peak power handling: 100W.
Dimensions: 12.54" (318mm) H × 8.06" (205mm) W × 8.52" (216mm) D. Weight: 14.73lb (6.8kg).
Finishes: Satin black and satin white.
Serial numbers of units reviewed: 32302E000037/38.
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Sidebar 2: Associated Equipment
Analog sources: Dr. Feickert Analogue Blackbird turntable, Jelco TK-850L tonearm, Koetsu Rosewood Signature Platinum moving-coil cartridge.
Digital sources: Apple Mac mini running Audirvana Plus. HoloAudio Spring "Kitsuné Tuned Edition" Level 3, Chord Qutest, Denafrips Ares D/A processors.
Preamplification: Excel Sound ET-U50 Phono step-up transformer; Tavish Design Adagio phono preamplifier; Rogue Audio RP-7 line-level preamplifier.
Power amplifiers: Benchmark AHB2, PrimaLuna Prologue Premium, Schiit Aegir, First Watt J2, Rogue Audio Stereo…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Elac Carina BS243.4's frequency response in the farfield, and an Earthworks QTC-40 mike for the nearfield responses. The measurements were taken without a grille.
Though Elac specifies the BS243.4's sensitivity as 85dB/2.83V/m, my estimate was closer to 82.5dB(B)/2.83V/m. The impedance is specified as 6 ohms with a minimum value of 4.8 ohms. The solid trace in fig.1 shows that while the impedance magnitude does briefly drop below 6 ohms, in the midbass and lower midrange, the…
Keith Jarrett: Munich 2016
ECM 2667/2668 (2 CDs). 2019. Keith Jarrett, prod.; Manfred Eicher, exec. prod.; Martin Pearson, eng.; Christoph Stickel, mastering eng.
Performance *****
Sonics ****
ECM 2667/2668 (2 CDs). 2019. Keith Jarrett, prod.; Manfred Eicher, exec. prod.; Martin Pearson, eng.; Christoph Stickel, mastering eng.
Performance *****
Sonics ****
I just measured the Keith Jarrett shelf in my CD library and it's 25" long: 51 CDs and CD sets. But when I played the new Munich 2016, I felt like I was rediscovering him after an unexplained absence.
Jarrett has been off my radar lately. Apparently I am not alone. The single best indicator of a jazz musician's critical standing is the DownBeat International Critics Poll. In 2017…
As the decade draws to a close, many of us choose to gather with people we love so that together we can celebrate and give thanks for our blessings. In that spirit, I offer a new hybrid SACD/Download of a perennial favorite, Beethoven Symphony No. 9 in D minor. Op. 125 “Choral” (BIS 2451), whose memorable finale celebrates the joy of oneness with humanity and the divine.
Although Masaaki Suzuki and his Bach Collegium Japan have previously recorded Beethoven’s Missa Solemnis, he is not a conductor one commonly associates with Beethoven’s music–not that there is anything common about this…
The buzz at the 2019 Audio Engineering Society (AES) convention in New York was immersive audio, as it has been for the last several years. I witnessed developments that may have a big impact on the future of multichannel audio.
First, I listened to Sony's new immersive codec, developed with the cooperation of the research society Fraunhofer IIS: 360 Reality Audio allows the producer to place any individual sound source anywhere in the surround field. While I listened to binaural playback over regular headphones equipped with special decoding software, I was able to watch the placement (…