Embarrassed to admit my age, I said, "Yes—but this is a reissue."
Her boyfriend grinned widely. "This sounds amazing! I'm gonna buy the whole set."
I asked if he had a turntable.…
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Through the new (made in Oxfordshire, UK) Falcon LS3/5A speakers (review to appear in August 2015), I was playing, fairly loudly, "Back in the U.S.S.R.," from the mono vinyl reissue of The Beatles. The woman with tattooed legs was singing along with "Those Ukraine girls really knock me out . . ." The girl with the suspenders raised her voice: "Did you buy this record when it first came out?"
Sidebar 1: Specifications
Description: Solid-state integrated amplifier with tone and balance controls, optional plug-in DAC module (USB, S/PDIF coaxial, S/PDIF TosLink, Bluetooth), optional FM/AM tuner module, optional phono module, and powered output for IR repeater. Preamplifier inputs: 5 unbalanced (RCA), 1 balanced (XLR). Speaker outputs: 2 (selectable). Headphone output: dedicated, low impedance (<50 ohms) on ¼" jack. Power output: >110W into 8 ohms (20.4dBW), >170W into 4 ohms (19.3dBW). Frequency response: 10Hz–100kHz, ±2dB line. Continuous current: >8.5 amps (…
Sidebar 2: Associated Equipment
Analog Sources: Acoustic Signature WOW XL, Pioneer PLX-1000, Thorens TD-124, VPI Traveler turntables; Abis SA 1.2, Acoustic Signature TA-1000 tonearms; Grado ME & Mono, Ortofon CG 25 DI II & 2M Black, Shure SC35C, Soundsmith Carmen, Zu Audio DL-103 cartridges.
Digital Sources: Puresound A-8000 CD player; Halide HD, Line Magnetic LM 502 CA DACs; Mac mini computer.
Phono preamplification: April Sound GB-1, Blue Horizon Prophono, LFD LE, Schiit Mani, Soundsmith MMP3.
Integrated Amplifiers: Hegel Music Systems H160, Line Magnetic LM518 IA,…
Sidebar 3: Measurements
I measured the Creek Evolution 100A using my Audio Precision SYS2722 system (see www.ap.com, and the January 2008 "As We See It"). Like many modern integrated amplifiers, the Evolution 100A covers all the bases in terms of sources and purposes, with USB, S/PDIF, and Bluetooth digital, FM, analog line-level, and analog phono inputs, as well as speaker, headphone, and line-level preamplifier outputs. To minimize strain on the amplifier's output stage, I measured the performance of the optional phono and D/A modules at the preamplifier outputs with the speaker…
Herb Reichert returned to the PLX-1000 in July 2015 (Vol.38 No.7):
Within minutes of submitting my review of Pioneer's PLX-1000 turntable for the March 2015 issue, I had second thoughts: I'm new at this magazine. If the PLX-1000 doesn't play better than budget audiophile 'tables, as I said it did, in no time my credibility will be circling the porcelain bowl.
Hoping to avoid shame and insolvency, I began to relisten, rethink, and reevaluate. I played a lot more records, using as many different cartridges and phono stages as I could. I carefully compared the Pioneer to my current…
Shure SC35C moving-magnet cartridge
Over and over, I'm listening to John Coltrane's tenor-sax solo in "I Wanna Talk About You," from The Gentle Side of John Coltrane (LP, Impulse! ASH-9306-2). I keep asking myself: Have I ever heard a recorded sax sound this realistic? The tenor I hear in my room is the exact size of a real one—and I can hear it moving in front of the microphone. Is this possible? I think these thoughts because I'm using a Shure SC35C cartridge (list price $75 but available for as little as $35) on the Pioneer PLX-1000 ($699), driving a Schiit Mani phono stage ($…
Williams: Suites from Star Wars and Close Encounters of the Third Kind
Los Angeles Philharmonic orchestra, Zubin Mehta.
Mobile Fidelity MFSL-C.008 (cassette).
Los Angeles Philharmonic orchestra, Zubin Mehta.
Mobile Fidelity MFSL-C.008 (cassette).
Originally released on London Records, then re-released with better sound on a Mobile Fidelity disc (now a cutout), these are stunning performances of these popular film scores, rivaling the composer's own performances of them. (Composers aren't always the best conductors of their own music, but John Williams is one who is.)
Sonically, this is simply a tour de force: Without a doubt the best commercially made…
Some years ago, we attended a hi-fi show in New York City where one of the exhibitors was RCA Victor. Their presence there would have been forgotten were it not for the fact that their exhibit, featuring their own discs played on their own line of phonographs, was producing some of the filthiest sound at the entire show. And that, in the proverbial nutshell, is why you never see reports in Stereophile on equipment made by RCA, Philco or General Electric.
The so-called Big Manufacturers always seem to be about 10 years behind the state of the audio art. One reason for this is of course…
Late in the fall of 1982, Los Angeles turned ugly for me. I'd finished my work on Tron and despite the Academy Award nomination for Best Sound (which went to the mixing team, not the sound supervisor), it was obvious that nothing else was coming my way anytime soon. To earn a living, I had to reinvent myself.
So there I was in Las Vegas, at the 1983 Consumer Electronics Show, schlepping heavy bags filled with press kits, each containing an audio cassette of a dozen radio commercials for a car-stereo store that I'd voiced and produced, along with a résumé-bio and endorsements from clients…
SAT supplies a pair of clampable counterweights of brass with soft alloy inlay—which you use will depend on the mass of your cartridge. To set the vertical tracking force (VTF), slide the counterweight along the arm's rear stub until you're close to the desired force, then lock it down with an Allen key. A lockable, weighted screw that protrudes from the end of the stub permits easy, precise fine-tuning of VTF.
Setup
The SAT tonearm comes in a Pelican case, each of its components nestled in a cutout of high-density foam. Also supplied are Allen keys, a tool for adjusting the bearing…