Fig.8 Eversolo DMP-A8, Short Delay, Sharp Rolloff filter, impulse…
search
I examined the behavior of the Eversolo's D/A conversion circuitry with one of the optical inputs. This locked to S/PDIF data with sample rates up to 192kHz. With the volume control set to "0dB," a 1kHz digital signal at 0dBFS resulted in an output level of 4.36V from the balanced outputs, 2.18V from the single-ended outputs. The DMP-A8's digital inputs preserved absolute polarity from both output types with the XLR jacks set to Positive Port Polarity. (The polarity setting is fixed as positive for the analog inputs.)
My reference preamp of the past few years, the D’Agostino Momentum HD, is ceding to the new D’Agostino Momentum model, to be called the C2 preamp. Termed “a complete departure from the HD,” the C2 derives from the superb, top-line D’Agostino Relentless preamp (review forthcoming).
Among the C2’s many new features: power travels from the power supply into the preamp via interlocking 20A connectors in the preamp’s feet, eliminating all external umbilical cords. Both the remote and the power supply include numerical readouts of volume. Another first for D’Agostino: a headphone…
Western Electric owner Charles Whitener and Sales Director Trent Suggs together gave us a first look at Western Electric’s upcoming products. Dumb me failed to turn on my video until late in the presentation, but below you can catch a bit of Suggs’ presentation.
WE’s reference-level Series 100 will include a range of products. Pictured here is the first of the lot, the Type 100M monoblock, which is almost 14" tall and is expected to sell for $120,000. By email, Suggs touted pure class-A2/SET technology and zero negative feedback. Using ECC81, 300B, and 308B tubes—the towering…
VTL and Wilson have delivered great sound at previous shows, and they did so again here in a set-up of which Peter McGrath, Brand Ambassador for Wilson Audio, was especially proud: VTL’s MB-450 III Signature monoblocks, TL7.5 III Reference preamplifier, and TP6.5 II.
A Signature phono preamplifier joined a dCS Rossini Apex DAC and Rossini clock, Wilson Sasha V loudspeakers, VPI Avenger turntable, and Nordost cabling. To get an idea of the size of Audio Reference’s space, note that this was but one of at least six listening areas in the room.
Seventy years ago this summer, a young pianist from Tryon, North Carolina—a town of fewer than 2000 residents—made her professional debut in Atlantic City. This was not the culmination of a dream but rather an economic choice born of the racial circumstances of the era. It was a letdown.
The venue was the Midtown Bar. If they'd known what she was doing, her parents would have objected and her musical peers would have sneered, so Eunice Waymon performed under a pseudonym: Nina Simone. Adding to the indignity for this classically trained pianist, playing wasn't enough; she was also expected…
Most of the 1950s Contemporary Records catalog is the bullseye of "West Coast Jazz," a smoother, more laid-back flavor than the hard bop and soul jazz styles percolating back east. Set in that context, tenor saxman Harold Land's The Fox stands out for its aggressive speed and punch. Its style would seem more at home on Blue Note or Prestige.
Read the back notes on the beautifully packaged new reissue from Craft Recordings and Acoustic Sounds and clarity emerges. The Fox wasn't born in Contemporary's studio/shipping room. Instead, it was laid to tape at Radio Recorders, Studio B, Los…
It's no secret that the musical history of New Orleans is rich and varied. From Buddy Bolden to a young Louis Armstrong being consigned to the Colored Waif 's Home for shooting off his stepfather's pistol on New Year's Eve, to the many pianists who accompanied the irresistible allure of Storyville, musicians and their music have forever been a key ingredient in NOLA's flamboyant DNA. Most elemental of all—did he facilitate the birth of rock'n'roll?—are those honeyed days at Cosimo Matassa's humble but groundbreaking studio J&M Recording on Rampart Street (1947–1956). There, his infallible…
Country is a music of diverse pleasures: the bel canto balladry of George Jones and Tammy Wynette, the psychologically acute portraiture of Tom T. Hall, the politically rousing storytelling of Loretta Lynn, the self-deprecating mythmaking of Billy Joe Shaver, the bone-chilling spirituality of Ralph Stanley. It's also full of contradictions: Maligned by some as hackneyed and simplistic, its lyrics can attain a sophistication rarely encountered in other music. Dismissed for reactionary politics, it has consistently offered up fierce critiques of inequality, bigotry, and injustice (see Johnny…
Waylon Jennings: Honky Tonk Heroes, 1973
A Falstaffian figure in country music, Waylon Jennings at his best sounded the way every shower singer dreams of sounding: commanding, joyous, and up to no good. Possibly the most appealing thing about him is that he was always slightly full of shit but let you know he knew it. In Billy Joe Shaver—as brilliant a songwriter as they come and something akin to a modern-day cowboy—Jennings found the perfect auteur for the outlaw persona he was trying to craft after shaking off the middle-of-the-road trappings of his '60s material. On Honky Tonk…
After lifelike timbres and speed-train momentum, how a loudspeaker projects its energy into my room is the main thing that determines how my sound system feels as I listen to it. When I review loudspeakers, I try to notice the unique tone and force of their "voice" as they speak into my room. Do they stand too close, stick out their chests, and brag loudly in third harmonics? Or do they have small voices that force me to lean in to make out what they're saying?
With a miniature box speaker like my reference Falcon Gold Badge LS3/5as or the similarly sized Harbeth P3ESR XDs, which I'm…