Analog sources: Simon Yorke turntable; Simon Yorke, Graham 2.0, Immedia RPM2 tonearms; Lyra Parnassus D.C.t, Transfiguration Temper, Koetsu Urushi, Crown Jewel Special cartridges.
Preamplification: Ayre K-1 preamplifier; Audio Research PH3SE, Pass Aleph Ono phono sections.
Power amplifiers: VTL MB 450 tube monoblocks.
Loudspeakers: Audio Physic Virgo, Sonus Faber Concerto Grand Piano; Audio Physic Rhea subwoofer.
Cables: Yamamura Millennium 6000, Cardas Golden Cross, Cardas Neutral Reference, Electra-Glide interconnects; Yamamura speaker…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
Following its preconditioning test, the Conrad-Johnson Premier Twelve was hot—typical for a tube amplifier. The bias was found to be slightly off during the distortion measurements, was recalibrated, and the prior measurements were rechecked to ensure that the results had not changed significantly. (Except for the distortion, they had not.)
The amplifier's voltage gain into 8 ohms measured 28.5dB. The input impedance measured 98k ohms. The DC offset was a very low 1.1mV. The Premier Twelve is noninverting—a positive-going input emerges positive at the…
One of my favorite parts of attending Stereophile's Home Entertainment shows—aside from seeking out the sexy new gear and pressing the flesh of readers—is the "Ask the Editors" panel discussions. What begins as a Q&A session usually turns into a free-for-all, as the outspoken and opinionated likes of Sam Tellig, Michael Fremer, Ken Kessler, and John Marks barely give room for wallflowers such as Art Dudley and yours truly to express our opinions—except when editor John Atkinson asks each of us, in turn, to cast our votes for the "most interesting rooms to visit." At both the HE2004 and…
Sidebar 1: Specifications
Description: Two-way, reflex-loaded dynamic speaker with integral stand. Drive-unit: 4" cone unit with a neodymium magnet run full-range, 6.5" honeycomb-cone woofer with neodymium magnet. Frequency range: 45Hz–20kHz. Sensitivity: 90dB/2.83V/m. Nominal impedance: 6 ohms. Maximum power handling: 60W.
Dimensions: 15.6" (400mm) H by 7.8" (200mm) W by 13.25" (340mm) D. Weight: 19.8 lbs (9kg). Stand: 22.6" (580mm) H by 10.9" (280mm) W by 15.6" (400mm) D. Weight: 15.4 lbs (7kg).
Finishes: Black, matte or gloss.
Serial numbers of units reviewed: P220002/3.
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Sidebar 2: Associated Equipment
Analog Sources: VPI TNT IV turntable, Immedia RPM tonearm, Koetsu Urushi cartridge; Rega Planar 3 turntable, Syrinx PU-3 tonearm, Clearaudio Virtuoso Wood, Aurum Beta S cartridges.
Digital Sources: Lector CDP-7T, California Audio Labs Icon Mk.II Power Boss, Creek CD53 Mk.II CD players; Pioneer DV-333 DVD player.
Preamplification: Vendetta Research SCP-2D phono stage, Audio Valve Eklipse line stage.
Power amplifier: Audio Research VT100 Mk.II.
Integrated amplifier: Creek 5350SE.
Cables: Interconnect: MIT MI-350 CVTwin Terminator, MI-330SG,…
Sidebar 3: Measurements
As Bob Reina explained, the Almarro M0A is deceptive-looking because what appears to be its stand is actually part of the speaker's acoustic design. I therefore measured it attached to the stand. I estimated the M0A's voltage sensitivity as 88.5dB(B)/2.83V/m. Though this is slightly below the specified 90dB, it is still higher than average. The M0A's impedance magnitude (fig.1) is quite different between the bass, where it averages 5 ohms, and the treble, where it rises from 6 ohms at 1kHz to more than 20 ohms above 12kHz. Using a tube amplifier with this speaker…
Musical arguments in favor of separate components are compelling and well-documented. But there's also something musical to be said about reducing the number of power sources, keeping signal paths short and direct, and hard-wiring connections between components rather than employing multiple sets of interconnects. So while a designer must inevitably confront certain tradeoffs, the explosive growth and popularity of single-box products in the past few years contradicts the received wisdom passed down by some of the more sniffy audiophiles: that such unduly proletarian products are terminally…
"We deal only in analog designs," Zurowski explained, "and the MD 208 features the three-stage front-end with special resonators that we use in our more expensive tuners. The difference is that in our standalone tuners there's an audio section handling the pure output stage: a significant audio section and a bigger one throughout. Now we take the signal right off our RF board and feed it down into the SimAudio preamp and power-amp section of the MD 208.
"The resonators are what set the front-end up. That's where it all starts, and we tune those stages for minimum distortion, plus optimum…
I'm glad I didn't, but for a while I experienced the symptoms of aural indigestion: amorphous bass focus, limited bass extension, incoherent soundstaging, a lack of high-end extension, poor low-level resolution, and, most notably, a limited volume range. There seemed to be an optimal volume setting at which the MD 208 evinced a realistic, coherent tonal balance and dynamic range; below that, the presentation lacked presence, body, and tonal coherence; above it, the tonal balance seemed to go out of kilter, as everything seemed a touch too loud and glary.
Vince Stables of Simaudio…
Sidebar 1: Specifications
Description: Remote-controlled solid-state receiver with digital volume control and discrete all-analog FM tuner section (digital readout), five line-level inputs, separate record output and pre-out. Amplifier section: Power output: 100Wpc into 8 ohms (20dBW), 160Wpc into 4 ohms (19dBW). Current output: 30A peak. THD: 0.15%. Damping factor: >100. Preamp section: Maximum output: 29V. Voltage gain: 34dB. Frequency response: 20Hz-20kHz, +0, -3dB. THD: 0.1%. S/N Ratio: 96dB. Tuner section: Usable sensitivity (stereo): 11.2dBf. Adjacent-channel attenuation: >12…