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Franco Serblin Accordo Goldberg loudspeaker Martin's Measurements

Sidebar 3: Martin's Measurements

Basic measurements were undertaken to confirm the condition of these UK review samples and help coordinate with John Atkinson's full tech report on his US example. I checked the effect of the near-vestigial grille; I found little to note save errors of less than 1dB in the mid-treble from its addition, increasing to 1.5dB at 15kHz. I consider such changes negligible, as I could not reliably hear the effect. I think that is because the strand spacing is wider here than when I had previously encountered this design detail with a Sonus Faber design…

Franco Serblin Accordo Goldberg loudspeaker JA's Measurements

Sidebar 4: Measurements

I measured a different sample of the Franco Serblin Accordo Goldberg loudspeaker to those auditioned by Martin Colloms. Mine had the serial number 326. I used DRA Labs' MLSSA system, a calibrated DPA 4006 microphone, and an Earthworks microphone preamplifier to measure the quasi-anechoic frequency- and time-domain behavior in the farfield. I used an Earthworks QTC-40 microphone, which has a ¼" capsule, for the nearfield responses.

Fig.1 Franco Serblin Accordo Goldberg, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.).

The…

T+A R 2500 R multisource receiver

The hi-fi receiver has been many different things. Early examples, like the Harman Kardon "Stereo Festival" TA-230 from 1958 (said by modern-day Harman/Samsung to be the first stereo receiver; footnote 1), featured separate FM and AM monophonic tuners that could assign a speaker to each if you wanted to listen to what was then a fad: stereo broadcasts over two stations (left channel over FM, right over AM, for instance). Standardized FM stereo broadcasting began in 1961, and by then, receivers had evolved into large, complex, nearly complete stereo systems; an example of that was the Fisher…

T+A R 2500 R multisource receiver Page 2

I decided I'd "pull up the patient pants," as my wife often advises, and set it up by the book: the user manual. The book says to download the app first and use it for setup. This proved the right move, as navigating the device's menu tree is time-consuming with the remote and even more so using the front-panel buttons and knobs. The app was a bit clunky when it came to pairing the unit to my Wi-Fi network, which required several attempts but ultimately worked. I could have plugged in the Ethernet cable and connected quicker, but I wanted to use this with Wi-Fi since I figured that would be…

T+A R 2500 R multisource receiver Specifications

Sidebar 1: Specifications

Description: Solid state stereo receiver with HD Radio/FM tuner, optional phono preamp (MM or MC), on-board DAC/streamer, full-function preamp with analog bass/treble controls and stepped-resistor relay volume control, class-AB amplifier, front panel output-power meters and green/black LED display. Inputs: 3 analog (one balanced); 3 S/PDIF digital (1 coax, 2 optical TosLink); 1 USB host for hard drive or memory stick; 1 USB DAC; 2 HDMI-ARC (audio return channel); Wi-Fi and Bluetooth via two external antennas (included); Ethernet LAN port; 12V on/off trigger via 1…

T+A R 2500 R multisource receiver Associated Equipment

Sidebar 2: Associated Equipment

Digital sources: dCS Bartók streaming DAC, Oppo DV-981HD universal disc player.
Power amplifier: Benchmark AHB2.
Loudspeakers: B&W 808, Amphion One18, Marantz Imperial 5G.—Tom Fine

T+A R 2500 R multisource receiver Measurements

Sidebar 3: Measurements

I performed a full set of measurements on the T+A R 2500 R using my Audio Precision SYS2722 system. Although the R 2500 R's Menu can be accessed with the front-panel and the remote control buttons, I found it easier to use the T+A MusicNavigator G3 app, which I installed on my iPad mini after connecting the amplifier's Ethernet port to my network. (Not all the settings are available with the app.) The amplifier is specified as having a maximum output power of 140Wpc into 8 ohms; I preconditioned the R 2500 R before the measurements by following the CEA's…

T+A R 2500 R multisource receiver Measurements Page 2

To examine the performance of the R 2500 R's DAC, I used the coaxial and optical S/PDIF inputs, both of which accepted data sampled at rates up to 192kHz, and USB data sourced from my MacBook Pro. The USB Prober utility identified the R 2500 R as "R 2500 R" from "T+A elektroakustik," with the serial number string "3932343130335107001D0027," and indicated that the USB port operated in the optimal isochronous asynchronous mode. Apple's AudioMIDI utility showed that the T+A accepted 24-bit integer data via USB sampled at all rates from 44.1kHz to 768kHz.

The T+A's digital inputs preserved…

Re-Tales #44: Allies in the Vinyl Revival

Thomas Neuroth, a cofounder of the Vinyl Alliance, shows an eco LP at High End Munich.

Some 30 years ago, vinyl records seemed to be heading in the direction of the 8-track tape, toward becoming an obsolete format. As everyone knows, vinyl rebounded and has so far avoided that fate (but see this month's As We See It about the status of the Compact Disc). An international association aims to keep it that way.

The Vinyl Alliance was formed in 2019 "to strengthen awareness and the image of vinyl records worldwide," according to the organization's website. The VA is a membership…

Music Loses Two Legendary Producers: Steve Albini and Michael Cuscuna

Steve Albini; photo by Edd Westmacott/Alamy Stock.

Recording music is complicated, and without the crucial assistance of producers and engineers, a lot of great records—not to mention successful musical careers—would not happen. Producers Steve Albini and Michael Cuscuna, two key figures from the music world who departed in recent months, richly deserve to be celebrated.

Though they worked in widely disparate genres—Cuscuna primarily in jazz, Albini in punk and noise rock—they are connected by their extraordinary efforts and unfailing taste. Both were exacting, dedicated, and…