Compared to Rogue Audio Sphinx
Rogue Audio's tube/class-D hybrid Sphinx V3 and Musical Fidelity's A1 sounded more alike than different. Still, the "different" part was important.
The Sphinx V3 uses an N-core power module to make 100 class-D watts into 8 ohms. It costs $1595 and has a killer, to-die-for MM/ MC phono stage that came across as more transparent than the A1's. As always when comparing components, the sound character of the previous component affects what I notice first with the new component that replaces it.
In this case, I'd been listening to pianist…
Sidebar 1: Specifications
Description: Solid state integrated amplifier. Inputs: 1 pair phono (RCA), five pair line-level single-ended (RCA; labeled CD, Tuner, Aux 1, Aux 2, Tape Out). Outputs: one pair "Tape Out" line-level fixed (RCA), one pair "Pre Out" line-level variable, one set L-R multiway loudspeaker binding posts. Rated power in class-A: 25Wpc into 8 ohms (14dBW). Max. voltage: 42.5V, peak–peak. Max. current: 25A, peak–peak. Gain (volume at maximum): 32dB (Direct Mode), 42dB (Normal Mode). Line level sensitivity: 300mV RMS nominal, 8V RMS max. Input impedance: 25k ohms line, 50k…
Sidebar 2: Associated Equipment
Analog sources: Dr. Feickert Analogue Blackbird turntable with EMT 912-HI tonearm and EMT JSD 6 moving coil cartridge, Sorane SA-1.2 tonearm with a Dynavector XX2 and Hana Umami Blue moving coils; Musical Fidelity Stealth turntable with a Nagaoka MP-200 moving Permalloy cartridge; MoFi MasterPhono and Prima Luna EVO 100 phono stages.
Digital sources: Denafrips Terminator Plus, HoloAudio Spring 3, dCS Lina (with Master Clock) DACs; Onkyo C-7030 CD player, TEAC CRDS-701T CD transport.
Preamplifier: HoloAudio Serene.
Power amplifiers: Parasound…
Sidebar 3: Measurements
I assessed the Musical Fidelity A1's measured performance using my Audio Precision SYS2722 system. I initially had some problems, as while the right channel's gain increased as expected when I pushed the front-panel button to switch from Direct mode to Normal mode, the left channel was muted. Suspecting there was something wrong with the pushbutton, I pressed it in and out several times in quick succession, which restored correct operation. I subsequently encountered another problem: The right channel had excessive distortion and limited power if the volume control…
New recordings of Julius Eastman compositions aren't as rare as they were a decade ago. Eastman's profile has grown with each repetition of his story, which seems to become more dramatic with each iteration. Trained at the Curtis Institute of Music; worked with Peter Maxwell Davies, Meredith Monk, and Petr Kotik; composed significant works often for instrument multiples (four pianos, 10 cellos); then drugs, homelessness, and dying alone in a hospital at the age of 49. A recent resurrection has brought new recordings, new research, and new visibility. An exciting recent realization of his 1974…
Throughout my hundred years, I've told everyone who'd listen: If it's adventure you seek, the best way to find it is to stand on the right corner at the right time wearing the right hat, and when the limo pulls up and the driver says, "Get in," do not ask where it is going.
This strategy has served my life story well. It has placed me without striving in countless cinema-worthy locations, hanging with all types of legend-worthy characters.
Lately, that corner where I stand wearing the right hat is in front of the Polish newsstand at the intersection of Manhattan and Greenpoint…
Cyrille's Farm
The next time I stood in front of that Polish newsstand, I ended up at a different country palace. This one I call the French Farm. All I knew when I climbed in was that we were scheduled to visit a "a French person" with a full, made-in-Japan Onken horn system and some fancy chickens. There might be a gang meetup, and possibly snacks.
This country palace was a restored brick farmhouse of modest proportions, built in 1789, with a wood stove or fireplace in every room. It had heavy wood floors like the Stick Palace but only 7' ceilings, with exposed beams. The…
No jazz-centric visit to New York City is complete without a trek out to Queens. At 46th Street in Sunnyside stands the apartment building where famed cornetist Leon Bismark "Bix" Beiderbecke's alcoholism finally killed him in 1931. Farther out, in Corona, is the newly enlarged and expanded Louis Armstrong House Museum. The actual house Armstrong bought in 1943 and lived in until his death in 1971 is just the way it was when his fourth wife, Lucille, died there in 1983. The long white couches, bright blue kitchen cabinets, and wall-mounted reel-to-reel tape decks behind his desk in the…
As much as I tinkered with a little crystal radio as a child and started reading stereo magazines in high school, it wasn't until my early 30s that I half-stumbled into the higher end of the hi-fi sphere. As I progressed from used Advents to used Spicas and began to experiment with speaker cables, more and more names of high-end brands entered my consciousness. Burmester (founded in 1977), and some of the other higher-priced components from overseas whose looks seemed commensurate with their prices, held an outsized fascination for me. What about them, other than their visual appearance,…
Setup considerations
Given the dimensions of my Grand Prix Monza amp stands and the 218's lack of protruding support feet—it only has four thin round (presumably felt) pads beneath it—I placed the 218 atop the Wilson Audio Pedestals I customarily use. This was essential because without the Pedestals or other suitable equipment supports, the corners of the amps would not have cleared the corners of the stands. I could have placed the amps on the floor without support feet, but that would have left them exposed to vibrations from my bamboo floor, putting them at a disadvantage to my…
