Description: Solid-state, two-chassis D/A processor with R–2R ladder DAC modules, Inputs: two coaxial S/PDIF, one optical S/PDIF, one AES/EBU, one USB, and two I2S over HDMI. Analog outputs: balanced (XLR) and single-ended (RCA).
Dimensions: 17" (432mm) W × 2.2" (56mm) H × 12" (305mm) D each (processor and power supply). Weight: 39.7lb (18kg) together.
Finish: Black-anodized aluminum and polished copper.
Serial numbers of review sample: 1911541872 (processor and power supply).
Price: $3798–$4998 depending on options; $4998 as reviewed.
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Sidebar 1: Specifications
Sidebar 2: Associated Equipment
Digital sources: Ayre Acoustics C-5xeMP universal player; Weiss DAC502 D/A processor.
Preamplifier: NHT PVC.
Power amplifiers: Parasound Halo JC 1+ monoblocks.
Loudspeakers: KEF LS50, GoldenEar BRX.
Cables: Digital: AudioQuest Vodka (Ethernet), AudioQuest Coffee (USB), DH Labs (1m, AES/EBU), Esperanto (S/PDIF). Interconnect: Canare (balanced). Speaker: AudioQuest K2. AC: AudioQuest Dragon Source & High Current, manufacturers' own.
Accessories: Sanus SF30 & Celestion 24" loudspeaker stands; Target TT-5 equipment racks; Ayre…
Sidebar 3: Measurements
Before doing any listening, I measured the May with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). Apple's USB Prober utility identified the May as "Holo Audio UAC2.0 Gen2 Enhanced" from "Holo Audio." The USB port operated in the optimal isochronous asynchronous mode, and Apple's AudioMIDI utility revealed that, via that input, the May accepted 24-bit integer data sampled at all rates from 44.1kHz to an extraordinary 1536kHz. The AES/EBU and S/PDIF inputs, including Toslink optical, accepted data sampled at rates up to 192kHz.
The…
The catastrophic February 6 fire at the factory where Apollo Masters produced LP-mastering lacquers—flat aluminum discs covered with nitrocellulose lacquer—will be old news by the time this column gets to you, but the repercussions of the loss will be ongoing for at least the next year and probably beyond.
Japanese firm MDC, the world's only remaining lacquer manufacturer, is a small company that before the fire had been operating at capacity and turning down customers. Fortunately, prominent mastering engineers Kevin Gray and Bernie Grundman had switched to MDC well before the fire, and…
Through the CH Precision, strings arrayed across the stage well behind the guitar were sweet and well defined, with supple (not edgy) attack, generous sustain (though not as generous as through the Ypsilon), and satisfying, long decay trails that helped recreate the Air Studios space. The bass lines defined by the bigger strings pulsed cleanly. The Grail SE+'s rendering was somewhat leaner, which meant the bass-line pulses were not quite as insistent. I repeated this comparison with the CH's X1 auxiliary power supply turned off, which made the prices and overall excellent sonic performance…
The challenge for Ayre's Charley Hansen was formidable. Having already designed a world-class preamplifier—the highly acclaimed $7100 K-1 (see Wes Phillips' review in March 1997)—Hansen set out to offer audiophiles "80 to 90%" of the K-1's sound and build quality at a price more of them can afford. Not that the new K-3 is a piece of "budget" gear. It's not. But at $4500, the fully loaded K-3, complete with phono section and remote control, is within reach of many.
The "base price" version, minus the MC/MM phono section ($1000) and remote ($250), is an even more reasonable $3250...but in…
I listened to the EAD DSP-9000 Mk.3 HDCD processor directly out through its built-in analog/digital volume control. This is a switched resistive array that uses 0.1% Vishay resistors for large volume steps (6dB increments), and digital attenuation for smaller ones (0.2dB). Thus there is never more than one high-quality resistor in the signal path at any given time, and no more than 1 bit of degradation. The EAD fed either the Conrad-Johnson Premier 12s or the VTL MB-450s. Through the Ayre, the biggest difference I could hear was gain.
The K-3 was dead, dead quiet. If it imparted any…
Sidebar 1: AC Power Cords
I want to neither overstate nor understate the effect power cords have on the sound of electronic components. Many manufacturers who've visited me have laughed at some of the boa constrictor–like power cords I have on hand—until they've heard them attached to their products. They do make a difference.
That said, how can one accurately assess the "sound" of a piece of electronics without assessing the "sound" of the power cord to which it attached? Good question! The Ayre sounded fine with the supplied cord, but substituting a Yamamura Quantum cord (over…
Sidebar 2: Specifications
Description: Full-function, solid-state control preamplifier. Maximum voltage gain: 16dB to balanced outputs, 10dB to unbalanced outputs (line); 40dB, 50dB, 60dB (phono stage). Line input impedance: 10k ohms (each phase). Phono input impedance: adjustable—50k ohms (default); 100, 250, 500, 1000 ohms supplied; other values available. Output impedance: 300 ohms (each phase). Power consumption: 30W.
Dimensions: 18" W by 3.75" H by 11" D (main unit); 10" W by 3" H by 8" D (power supply). Weight: 25lb (11.5kg).
Serial number of unit reviewed: 3A 0126.
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Sidebar 3: Associated Equipment
Phono Cartridges: Transfiguration Temper, Lyra Clavis DC, Parnassus DC.T, AudioQuest Fe-5, Grado Reference, Goldring Excel XV, van den Hul MC 10 Special.
Tonearms: Graham 2.0, Immedia RPM, Simon Yorke Series 7.
Turntables: Simon Yorke, VPI TNT Mk.IV.
Preamplifiers: Audible Illusions Modulus 3A, Sutherland PH-2000, FM Acoustics 122.
Power Amplifiers (tube): Conrad-Johnson Premier 12, VTL MB-450.
Loudspeakers: Sonus Faber Concerto Grand Piano, Aerial 8, Audio Physic Virgo, Audio Physic Rhea powered subwoofer.
Cables: Yamamura…