In my third report on the Bricasti M1—a Follow-Up in the July 2013 issue—I wrote: "If Stereophile has covered another product that has received as many upgrades in as brief a time as Bricasti's M1 DAC ([$9000]), I missed it." Since then, Bricasti has stayed on their path of "continuous innovation." I think it praiseworthy that all of Bricasti's M1 upgrades have been made available to owners of earlier models at reasonable cost or no cost at all. Not one Bricasti DAC has ever been rendered obsolete by a newer model.…
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John Marks returned to the Bricasti M1 in December 2014 (Vol.37 No.12):
Sidebar: More Bits vs Greater Bandwidth
Contrary to what some industry pundits claim, the dividing line between "Red Book" and "hi-rez" audio is: 20-bit/44.1kHz—that is, 20 true bits, not mere nominal bits. I'm not saying that DSD, DXD, and 192kHz do not sound "better." I'm saying that most of the ills of "Red Book" sound can be traced back to its resolution of 16 bits. Resolution is more important than frequency response, I feel, in large measure because, for much program content, there isn't much musical information above 20kHz. For example, the workhouse rock'n'roll dynamic microphone…
The experience left me doubting my ears. After I'd performed all the measurements of Ayre Acoustics' KX-R preamplifier ($18,500) to accompany Wes Phillips's review in our November 2008 issue, I spent a weekend listening to it. To my astonishment, the sound of my system with a Transporter D/A processor feeding the preamplifier was better than when the DAC fed the power amplifier directly. Through the KX-R, images sounded more tangible, and the sound was better focused, despite the signal's having been passed through not just another set of interconnects but also through the preamp's input…
The KX-R Twenty loved women's voices. The aggressive edge to Chrissie Hynde's thin-sounding pipes in "Back on the Chain Gang," from the Pretenders' The Singles (ALAC file ripped from CD, Sire/WEA), was tamed; it was easy to put to one side the fact that "Love Letters," from Ketty Lester's Torch Songs, with Lincoln Mayorga on piano (320kbps AAC file), was lossy compressed mono. And with well-recorded female voices, such as Mary Chapin Carpenter's take on Jagger and Richards' own torch song "Party Doll," from her Party Doll and Other Favorites (ALAC file ripped from CD, Columbia CK 68751), the…
Sidebar 1: Specifications
Description: Remote-controlled line preamplifier. Analog inputs: 4 balanced (pin 2 hot), 4 unbalanced. Analog outputs: 2 pairs balanced on XLRs (pin 2 hot), 2 pairs balanced tape (pin 2 hot). Other inputs/outputs: 2 AyreLink ports. Gain range: Variable Gain Transconductance topology in 60 steps of 1dB. Frequency range: DC–250kHz. Signal/noise and channel separation: not specified. Input impedance: 2 megohms, balanced; 1 megohm, unbalanced. Output impedance: 150 ohms, single-ended (when used with an adapter); 300 ohms, balanced. Power consumption: 35W (65W…
Sidebar 2: Associated Equipment
Analog Sources: Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B cartridge.
Digital Sources: Ayre Acoustics C-5xeMP universal player; Apple 2.7GHz i7 Mac mini running OS10.9.4, iTunes 11, Pure Music 2.0, Audirvana Plus 1.5.10; Auralic Vega, PS Audio PerfectWave DirectStream D/A processors; dCS Vivaldi upsampling D/A system; Ayre Acoustics QA-9 USB A/D converter.
Preamplification: Channel D Seta L phono preamplifier; Pass Labs XP-30 line preamplifier.
Power Amplifiers: Pass Labs XA60.5 monoblocks, Audio…
Early in the review period, a friend of my wife's visited from out of town, accompanied by her music-writer husband, who is definitely not an audiophile. In fact, he was hesitant about visiting at all, fearing I'd subject him to "audiophile" records. Happily, I had all of the recordings he asked to hear, some of it obscure. He came away from the experience thinking that one could be an audiophile and a music lover. He seemed to enjoy the Fremer Hi-Fi Show, but after a while, though he'd said nothing, I could tell he was less than happy with a few things we played. Then he requested the title…
Sidebar 1: Specifications
Description: Solid-state monoblock power amplifier. Inputs: 1 unbalanced (RCA), 1 balanced (XLR). Outputs: 1 pair binding posts. Rated power output: 200W into 8 ohms (23dBW), 400W into 4 ohms (23dBW). Frequency response: 1Hz–150kHz, ±0.1dB. Gain: 26dB. Signal/noise: >100dB (no reference level given). Input impedance: N/A. Power consumption: 60W, 2W standby.
Dimensions: 11.9" (305mm) W by 13.8" (355mm) H by 17.8" (457mm) D. Weight: 79.2 lbs (36kg) net, 99 lbs (45kg) shipping.
Serial numbers of units reviewed: 1006, 1007.
Price: $30,000/pair.…
Sidebar 2: Associated Equipment
Analog Sources: Continuum Audio Labs Caliburn turntable & Cobra tonearm & Castellon stand; Brinkmann Spyder turntable & 12.1 tonearm; George Warren turntable; Kuzma 4Point, Mörch DP-8 tonearms; Lyra Atlas & Etna, Ortofon MC A90 & MC A95, Ikeda Kai, Miyajima Labs Zero (mono) cartridges.
Digital Sources: Simaudio Moon Evolution 650D DAC-transport & Moon Evolution 820S power supply; Ayre Acoustics QA-9 A/D converter; Lynx Hilo A/D–D/A converter; Meridian Digital Media System; Pure Vinyl & Vinyl Studio playback software.
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Sidebar 3: Measurements
I performed a full set of measurements on the M28 (serial number 1006) using my Audio Precision SYS2722 system (see www.ap.com and the January 2008 "As We See It"). As the Bricasti amplifier is specified as having a maximum output power of 200W into 8 ohms, I preconditioned it before the measurements by running it at one-third that power, 67W, into 8 ohms for an hour, following which the top panel was warm, at 99.3°F (37.4°C), and the side panel covering the internal heatsink was only slightly hotter, at 106.7°F (41.5°C). The THD+noise percentage at this power…