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Musical Fidelity Tri-Vista SACD player Page 4

CD Playback: Nu-Vista 3D vs Tri-Vista
No point comparing either of these to dCS's upsampled-to-DSD CD performance. I've heard nothing like it. Period. The real issue for me was, could Musical Fidelity build an SACD player that would not sacrifice CD sound quality. It was easy enough to compare the Nu-Vista 3D to the Tri-Vista in CD mode.

A few dozen discs later (including many of the ones I used for the dCS review): Whether it's because of the different sonic character of the "trivistor" tube or the Tri-Vista player's lower claimed jitter or distortion, the Tri-Vista sounded…

Musical Fidelity Tri-Vista SACD player Specifications

Sidebar 1: Specifications

Description: SACD/CD player with tube analog stage, digital data input, 24-bit delta-sigma, dual-differential DACs, and 8x oversampling digital filter. CD data upsampled to 192kHz. Disc mechanism: Philips. Digital inputs: optical (TosLink), S/PDIF (RCA). Digital outputs: optical (TosLink), S/PDIF (RCA). Analog outputs: 1 pair RCA. Maximum output level @ 1kHz: 2.35V RMS (CD); 2.4V RMS SACD. Output impedance: 50 ohms. Frequency response: 10Hz-20kHz, +0/-1dB; -4.8dB at 50kHz (SACD); 10Hz-20kHz @ 1kHz, +0/-0.05dB (CD or external digital input). S/N Ratio (digital…

Musical Fidelity Tri-Vista SACD player Associated Equipment

Sidebar 2: Associated Equipment

Analog sources: SME Model 30/2, Avid Acutus turntables; Graham 2.2, SME V tonearms; Lyra Titan, Audio Tekne MC-6310, Transfiguration Temper W cartridges.
Digital sources: Musical Fidelity Nu-Vista 3D CD player, dCS Verdi SACD transport, Purcell D/D converter, and Elgar Plus DSD D/A converter.
Preamplification: Hovland HP-100 preamplifier, Manley Steelhead phono preamp.
Power amplifiers: Musical Fidelity Nu-Vista 300, Music Reference RM-200.
Loudspeakers: Audio Physic Avanti III, Aerial Acoustics SW-12 subwoofer.
Cables: Phono: Hovland Music…

Musical Fidelity Tri-Vista SACD player Measurements

Sidebar 3: Measurements

The massive Tri-Vista SACD player had maximum output levels of 2.31V for CD playback and 2.34V for SACD playback, both figures just over 1.25dB higher than the CD standard's 2V. The output preserved absolute polarity, and the source impedance was a very low 48 ohms across most of the audioband. It rose to 416 ohms at 20Hz, which mandates using preamps with input impedances above 4k ohms if the sound is not to become a little bass-shy. The error correction for CD playback was good, the Tri-Vista coping with gaps in the data spiral of up to 1mm without audible or…

Musical Fidelity Tri-Vista SACD player Sam Tellig July 2003

Sam Tellig wrote about the TriVista SACD player in July 2003 (Vol.26 No.7):

As mentioned, Mikey reviewed the Tri-Vista SACD player in May. I have only a few comments of my own:

First and most important, I don't think that the Tri-Vista SACD CD player sacrifices "Red Book" CD performance in order to bring you SACD playback. That's not surprising, since the Tri-Vista processes CD and SACD with entirely different digital signal paths. At the moment, I play standard CDs 99% of the time, because I have little worthwhile SACD software. The Tri-Vista SACD is a superb CD player that also…

Conrad-Johnson Premier 16LS preamplifier

I like stories with happy endings.

My Conrad-Johnson story began in the mid-'80s, by which time I had a demo PV-5 hitched to a used Conrad-Johnson MV-50. Made a nice combo. They powered a rewired pair of B&W Matrix 802s, a Well Tempered Record Player, and an early CD player.

The "old look" MV-50 was fitted with a beat old set of Mullard EL34 tubes. One night, while K-10 had the music cranked way high, one EL34 let go with a spectacular light show. It was just the tube, but I clucked fretfully over the amp, all the while muttering about "power requirements." And that'…

Conrad-Johnson Premier 16LS preamplifier Page 2

Very Philip Johnson...
The preamp is somewhat deco in overall styling, while still retaining a sense of the modern. The faceplate resembles the ART's and is made of thick extruded aluminum. Along the lower left front are an array of buttons: Source, EPL 1 and 2 (External Processor Loops), and Mute, as well as Volume up and down. To the right of the tubes and below are the Power button and its LED.

Above this row of buttons on the left are two red-tinted "portholes" showing the volume reading of each channel. A third porthole, somewhat more to the right, picks up the signals from the…

Conrad-Johnson Premier 16LS preamplifier Page 3

At the back of the chunky, wide, case you'll find only single-ended connectors, plus a standard 15A IEC mains in. The five line-level inputs are all electrically equivalent to each other. Next on the rear panel are the EPL 1 and 2 ins and outs, on RCAs. I never used 'em, but you can for tape recording. Or they can be pressed into service as two additional line-level inputs!

The preamp outputs are recommended for amplifiers with at least 20k ohms or higher input impedance: Krell FPB 350Mc, check; Cary V12, check; Forsell Statement, check; Linn Klimax (10k ohms), never mind.

…

Conrad-Johnson Premier 16LS preamplifier Page 4

The fast'n'easy answer: Just terrific. Sort of like the Audio Research Reference Two Mk.I Michael Fremer reviewed last September, before the Minnesota company decided to "upgrade" to the Russian 6H30 SuperTubes. I have no idea how the Mk.II sounds, as I haven't heard it, but I hope it's as sweet a li'l number as the Mk.I was.

The Premier 16LS represented for me the sonic melding of the long-promoted but rarely heard "best of both worlds." Don't get me wrong—it's still a Conrad-Johnson, which should be a relief to the many fans C-J has garnered over the years. And it bodes well for the…

Conrad-Johnson Premier 16LS preamplifier Page 5

The 16LS's overall voice is important to note. I found it a hell of a lot more preamp than the rather more primitive PV-5—or the PV9, for that matter. The 16LS had much more extension and detail, its imaging was way better, its air was off the meter, and it was a touch—perhaps a hair—more restrained dynamically than the Lamm L2, the Mark Levinson Reference No.32, or the BAT VK-50SE. But not more than the Krell KCT, which shares that same let's-not-beat-up-on-anyone quality that makes listening to music such fun.

Setting up the 16LS to play SACDs, I dropped in Boulez Conducts Ravel (Sony…