Analog sources: Linn LP12 turntable with Keel chassis, Karousel main bearing, Radikal motor control. Naim ARO tonearm and Lyra Delos cartridge.
Digital sources: Naim UnitiCore network server and S/PDIF source. Roon Nucleus+. NAIM ND555 Streamer-DAC with two 555PS(DR) power supplies.
Preamplification: Townshend Allegri Reference line control. Phono: Naim SuperLine-SuperCap DR.
Power amplifier: Naim NAP250 (2023).
Loudspeakers: FinkTeam KIM, BBC LS3/5a.
Cables: Speaker: Transparent XL MM2, Naim NAC A5. Interconnects: Naim standard and…
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Sidebar 3: Associated Equipment
Sidebar 4: Martin's Measurements
On axis, the primary frequency response measured respectably flat out to 12kHz with a minor, narrow prominence in the 14–18kHz range that was only present directly on axis. Output continued beyond audibility before finally settling at –10dB at a nicely extended 33kHz. Notably absent was the resonant peak often seen at or above 20kHz; its absence here is no doubt due to this tweeter's pleated-ribbon design (footnote 1). Whether coincidental or not, the high treble sounded sweet and never drew attention to itself.
Tested on axis, pair matching was…
Sidebar 5: JA's Measurements
I measured a Monitor Audio Gold 300 6G loudspeaker with the serial number 900005. I used DRA Labs' MLSSA system, a calibrated DPA 4006 microphone, and an Earthworks microphone preamplifier to measure the speaker's quasi-anechoic frequency- and time-domain behavior in the farfield (footnote 1). I used an Earthworks QTC-40 microphone, which has a small ¼" diameter capsule, for the nearfield responses.
The Monitor Audio…
All prices listed in US$.
To me, Burmester equipment is the audio equivalent of Porsche cars—sleek-looking, expensive, and designed for high performance. And as my visit to the Burmester room proved, Burmester gear is fun and exciting to listen to, which is what I assume driving a Porsche is like. (Maybe one day, I'll let you know for sure.)
The Burmester room was showing an all-Burmester system, down to the cabling, that included a Music Center 111 ($55,000) music server/CD player/CD ripper/preamplifier, a 164Wpc, 218 power amplifier ($50,000), a pair of BC150…
All Prices listed in CA$.
This was one of my favorite demos at the show. It sounded so well balanced, it seemed to deliver everything in the right proportions. Bold but not in-your-face; tonally ripe but not too warm; detailed but not stringent; effortless but weighty, and so on.
In the setup I heard—there was also a Tidal-streaming setup I didn't hear—the source was a Stable 33.3 33.2 Mk2 turntable ($13,900) equipped with a Black Beauty carbon-fibre based tonearm ($11,500) and low-output Dynavector DV-20X2 MC cartridge ($1380), feeding a Luna Cables Red MC step-up transformer…
As editor, I love it when Stereophile reviews new equipment. "New" attracts readers. But there are good reasons to review stuff that's not totally new (though usually it is still shiny). The best reason is experience, first-hand: You hear a component at a show or in your own system. You're impressed and decide it deserves a closer look.
That's why I'm reviewing the CH Precision L1 line preamplifier ($34,500 in silver), which has been on the market for several years; meanwhile the company has launched a new, even higher-end preamp, the L10 (footnote 1). But when, recently, I wrote a follow…
CH Precision always sends one of its people to assist with setup—a good idea for a major review, since it guarantees that the setup is correct and the sound achieved is up to what the component is capable of. In this case, my visitor was Kevin Wolff, CH Precision's Seattle-based global sales director. Kevin went through the setup process as I looked on, paying attention some of the time. He turned off unused inputs, set input gain, chose DC coupling for the active inputs, and labeled them. Kevin activated a third channel for an experiment.
Kevin set the system to warm up and…
Sidebar 1: Specifications
Description: Modular, dual-mono line-level preamplifier with an 800 × 480 pixel, 24-bit RGB AMOLED display, eight inputs (four balanced on XLR, two each single-ended on RCA and BNC); four outputs (two fully balanced on XLR; one each single-ended on RCA and BNC). Relay-based input switching; 20-bit R-2R–based analog volume control with 236 0.5dB steps. Switchable absolute phase and mono settings. Max levels, input and output: 16V RMS balanced, 8V RMS single-ended. Input impedance: selectable 94k ohms or 600 ohms balanced, 47k ohms or 300 ohms single-ended. Output…
Sidebar 2: Associated Equipment
Analog sources: SME 30/12 (original version) with Series V-12 tonearm. Phono cartridges: Ortofon Windfeld Ti, Ortofon Verismo; Lyra Etna λ Lambda.
Digital Source: Roon Nucleus+, Innuos Statement NewGen server/streamer, CH Precision C1.2 D/A processor.
Preamplification: Line: Pass Laboratories XP-32. Phono: Pass Labs XP-27, Sutherland Big Loco.
Power amplifiers: Pass Laboratories XA60.8 monoblocks, CH Precision M1.1.
Loudspeakers: Wilson Audio Specialties Alexx V.
Cables: Digital: AudioQuest Carbon, Cinnamon, & Coffee USB; CAD USB;…
Sidebar 3: Measurements
As Jim Austin primarily auditioned the CH Precision L1 using its direct-coupled balanced inputs and outputs with the gain adjust set to "0dB," the input impedance set to High, and with the preamplifier powered by the auxiliary X1 supply, I performed a complete set of measurements in that condition. (The manual says not to stack the L1 and X1; the supplied umbilical cable was long enough for me to place the X1 on the floor, well away from the L1.) I then repeated some of the tests using the unbalanced inputs and outputs, then performed the balanced input's…