The frequency response of the Consonance is shown in fig.1, which speaks for itself, as does the THD+noise curve shown in fig.2, except to note that the latter reading was almost entirely noise. The line stage was non-inverting from the "Normal" main and tape outputs with the "Phase" indicator extinguished, though the balanced XLR outputs were wired with pin 3 "hot," conforming to the older US usage rather than the IEC standard, which means that connecting it to an amplifier wired with pin 2 "hot" will invert signal polarity. The phono stage was a mystery: while…
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Michael, who might be termed our typical audiophile (if anything in Santa Fe can be termed "typical"), may have found his digital processor, but he's still in a quandary about choosing the right power amp to drive his new loudspeakers. He has listened to a number of them over the past few months, and has been unable to find one which satisfies him in every way. I suspect he has a lot of company. The thorny problems of room acoustics and placement aside, loudspeakers are easier. Their signatures are pronounced and generate strong feelings one way or another; it's usually no problem to narrow…
Sidebar 3: Specifications
Decription: Remote-controled preamplifier. Frequency response: 0.08Hz–600kHz, –3dB (line), 0.15Hz–220kHz, –3dB (phono). Input impedances: user-selectable (see text). Output impedance: user selectable (see text). Gain: 16dB (line), 60dB (phono). Input sensitivity (for 500mV output): phono: 0.5mV, line: 78mV. RIAA accuracy: 20Hz–50kHz ±0.20dB. S/N ratio, A-weighted (ref. 500mV): 77dB (phono), 87dB (line). THD (ref. 2.5V rms): ¢0.04% (phono), ¢0.012% (line). Maximum output level: 10V rms (phono), 7.5V rms (line).
Dimensions: 13.75" W by 2.65" H by 15" D. Weight…
I was not in a position to disagree at the time—my listening seat that night was on the floor, stage left, about 5' in front of and just to the outside of the left loudspeaker. But I will observe that a dozen or so "6', biological Tube Traps" (listeners) in an already moderately well damped, 15' by 20' listening room, will do a number on high-frequency detail and "air," as well as significantly increase the required power output. As a frequent solo listener in that room to the Rowland Model 1–driven Stages in the month prior to the writer's conference, I had been struck by the Rowland…
Sidebar 1: System
The reference-system equipment used with both amplifiers included the Rowland Consonance preamp and the Apogee Stage loudspeakers. Program sources were the Oracle Delphi Mk.IV turntable and Oracle 345 tonearm with the Dynavector XX-1L cartridge and the Sony CDP-X77ES CD player. Other equipment used included the Mirage M-3 loudspeakers and (briefly) the Coda Technologies FET Preamplifier 01. The Threshold SA/12es and Muse 100 amplifiers were pressed into service where needed.
Loudspeaker cables were Symo (for the Stages) and AudioQuest Clear (for the M-3s).…
Sidebar 2: Measurements
As can be seen from fig.1, the Rowland exhibits a virtually ruler-flat frequency-response curve. The 10kHz squarewave (fig.2) indicates a fast rise-time, with no significant rounding of the leading edges. Polarity of the Rowland was non-inverting, and input impedance at 1kHz was 20.8k ohms, 95k ohms, and 750 ohms at the 20k ohm, 100k ohm, and 600 ohm input settings respectively. It required 142.4mV to give an output of 1W into 8 ohms, a gain of 26dB. Unweighted noise was 75.3dB below 1W into 8 ohms. Channel separation was better than 105dB below 1.5kHz (actually…
Sidebar 3: Specifications
Description: Solid-state stereo power amplifier. Power output: 60Wpc into 8 ohms (17.8dBW), 120Wpc into 4 ohms (17.8dBW), 215Wpc into 2 ohms (17.3dBW). Bridged power output: 240Wpc into 8 ohms (23.8dBW), 360Wpc into 4 ohms (22.6dBW), 500Wpc into 2 ohms (21.0dBW). Power bandwidth: 0.3Hz to 300kHz, –3dB. Slew rate: 70V/ns. THD+noise: under 0.035% at 1kHz, rated power into 8 ohms. Damping factor: greater than 200, 20Hz–20kHz into 8 ohms. Output current: 22A peak, continuous, 55A peak into 0.1 ohm for 20ms at 1kHz. Input impedance: 100k ohms, 20k ohms, or 600 ohms (…
Photos: Brian Li
It's half past seven on a drizzly Friday night in New York City. I'm a little bit of a mess; soggy from the sporadic downpour, weakened by a full day's work, and still regretting the sub-par pork and chive dumplings I wolfed down earlier. All day long I've been fighting off the urge to inject myself with cold beers (preferably Guinness) and binge watch Wong Kar Wai films. It's one of those days.
I'm with my friend Brian Li and we're walking in the East Village. Our destination: Other Music.
Pause. Allow me to back track and offer you, reader, some…
I've listened to this album several times now, and it's growing on me with each play. A duet session with pianist Vijay Iyer, 44, and trumpeter Wadada Leo Smith, 74, both master musicians, immersed in avant-garde composition but comfortable with basking in lyrical ballads too, A Cosmic Rhythm with Each Stroke (on the ECM label) is spacey without devolving into New Age goo, intense (sometimes simmering, sometimes bursting to a boil) without losing the theme or pulse of a piece.
The heart of the album is a 52-minute, largely improvised suite (which provides the CD's title), inspired by the…
Note: All dialogue quoted verbatim from e-mail exchanges to which I am privy; the stage directions are imaginary.
Dramatis Personae:
bill, director of marketing for PS Audio
randy (footnote 1), amateur reviewer for a commercial audiophile website
dick (footnote 2), professional reviewer for an established audio magazine (not Stereophile)
SCENE ONE
The stage is completely darkened, save for a small pool of light L. and another R. At L. we see randy in his office, sitting with his feet up on his desk. Other than a computer and a telephone, his desk is…