Analog source: SOTA Cosmos Series III turntable, Graham 2.2 tonearm, Dynavector XV-1S cartridge.
Digital sources: Esoteric DV-50 universal player, Classé Omega SACD/CD player.
Preamplification: Manley Labs Steelhead, Aesthetix Rhea phono stages; BAT VK-51 SE, VTL TL-7.5, Aesthetix Calypso line stages; Halcro dm10 preamplifier.
Loudspeakers: Legacy Focus 20/20, Focal-JMlab Nova Utopia Be.
Cables: Phono: Hovland Music Groove 2. Interconnect: Acoustic Zen Silver Reference, Nordost Valhalla, Synergistic Research Designer's Reference X-Series,…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
As the gorgeous-looking Hovland Radia has a balanced output stage, I took care during the measurements to ensure that the speaker terminals were not connected to ground or to each other. After the usual 60-minute preconditioning period at 1/3 power into 8 ohms, with both channels driven, the Radia's chassis was warm, and the circular perforated metal grilles over the internal heatsinks were too hot to touch.
The review sample of the Radia had the optional balanced inputs, with XLR jacks. The amplifier has low gain for a modern power amplifier, at 19.4dB…
Sidebar 3: Manufacturer's Comment
Editor: Paul Bolin's review of the Radia was welcomed by us not just for his proclamation that the amplifier is "much more than its pretty face" and "was a delight to listen to," but because it expressed clearly what all Hovland components are about—enjoying music.
It was gratifying that he found the Radia "consistently excellent at letting each bit of a musical event happen in its own time and in its own space while remaining solidly knit into a whole presentation." One of our main goals is designing components that do not have a "sound" of their…
It was 2am on January 8, 2000, and I was sitting at the bar of the Paris Hotel in Las Vegas. I'd just arrived for the Consumer Electronics Show and was recovering from a stressful day of travel. The airlines have a new computerized ticketing technology called the "electronic ticket": you get a reservation and a confirmation number, but no physical plane ticket, itinerary, or the feelings of security that accompany those pieces of paper.
When I arrived at my designated departure gate on the morning of January 7, I was informed by the attendant, "Sorry, I don't have you scheduled for this…
Letters in response appeared in the August 2000 issue:
More Gigi please
Editor: I want to tell you how much I enjoyed reading Gigi Krop's article in the June 2000 Stereophile (p.45). As a woman who loves music, attends a lot of concerts, and enjoys listening to my husband's high-end stereo, but who has no knowledge of or interest in electronic gadgetry, I found Ms. Krop's article a breath of fresh air. Its style was personal and entertaining, and I could relate to her simple and down-to-earth insights.
Now I'm actually interested in reading more in my husband's…
A straight wire with gain? That's what a line stage is supposed to provide, but few in my experience actually accomplish it, and I'm not sure that most audiophiles would really want it that way. Some want a bit of tightening and brightening, while some prefer a bit of added warmth and richness. But whatever the preference, none of us wants too much of a good thing—the tighter, brighter line stages better not sound etchy and hard, and the warmer, richer ones better not sound thick and plodding.
Over the past few years I've heard some great-sounding and versatile line stages,…
The top octaves were extended, airy, and natural sounding, cymbals ringing sweetly but decisively, with just the right balance of shimmer and crackle. Hard-edged electric guitar lines had satisfyingly ear-searing bite, never sounding softened or rounded off. The louder I turned up the volume, the better it sounded on top, yet the Calypso delivered the goods at the lowest levels too.
That's how live music sounds. Get close to the stage and cymbals continue to ring sweetly, but more intensely. Even when you get so close your ears begin to throb and ring sympathetically, it's because of the…
Sidebar 1: Specifications
Description: Remote-controlled tubed line-level preamplifier. Tube complement: two 12AX7WB, two 6922/6dJ8. Maximum voltage gain: 29dB, balanced input to balanced outputs, 23dB, unbalanced input to unbalanced outputs. Input impedance: 80k ohms, balanced, 40k ohms, single-ended. Output impedance: 600 ohms, balanced, 300 ohms, single-ended. Frequency response: 20Hz–20kHz, ±0.25dB. Power consumption: 20W standby, 100W active.
Dimensions: 17.875" (454mm) W by 4.375" (111mm) H by 18" (457mm) D. Weight: 39 lbs (17.7 kg).
Serial number of unit reviewed: 2969.…
Sidebar 2: Associated Equipment
Analog sources: Simon Yorke S7, Nottingham Audio Deco turntables; Immedia RPM-2, Graham 2.2, Nottingham Audio Ace-Anna tonearms; Lyra Titan, Lyra Helikon mono, London Reference cartridges.
Digital sources: Musical Fidelity Tri-Vista SACD/CD player, Alesis Masterlink CD-R recorder.
Preamplification: Aesthetix Saturn Rhea, Whest PhonoStage .20, Musical Fidelity kW, Manley Steelhead phono preamplifiers; Musical Fidelity kWP preamplifier.
Power amplifier: Musical Fidelity kW monoblocks.
Loudspeaker: Wilson MAXX2.
Cables: Phono: Cardas Neutral…
Sidebar 3: Measurements
As supplied for review—some internal jumpers are present on each channel's printed circuit board, but I have no idea what they change—the Saturn Calypso offered very high gain with its volume control set to its maximum (an indicated "88" on the display): 33.3dB from the balanced jacks, and 6dB less, as expected, from the unbalanced jacks. The unity-gain setting of the volume control in balanced mode was "55." Both balanced and unbalanced operation preserved absolute polarity—ie, the preamp was noninverting—with the front-panel switch set to noninverting; the XLR…