The Revelation seems to offer slightly greater depth and detail than the Source, although it is not quite so mellow…
search
Superphon's Revelation Basic preamplifier is made by Stan Warren (footnote 1), formerly the "S" of PS Audio, so it should come as no surprise that the Revelation Basic and the PS Audio Source sound much alike. The Revelation Basic sells for $399, assembled (no kit available). Like the Source, the Revelation has an outboard AC power transformer to minimize hum problems. But unlike the Source, the Revelation has dual volume controls (a pain) and lacks moving-coil capability.
Sam Tellig on the Revelation Dual Mono, September 1985 (Vol.8 No.5)
When I first heard the original Superphon Revelation Basic a year or so ago, I was impressed with its sound, if not its features. At $399, it was, indeed, a revelation—one of those rare cases in which a product name that sounds like hype simply isn't.
The Revelation delivers a superb sense of spaciousness, excellent imaging and detail, and tonal neutrality. The original Revelation (which I call simply the "Basic") makes a number of more expensive preamps sound like poor values.
On the other hand, there…
Anthony H. Cordesman in December 1985 (Vol.8 No.7)
1985 seems to be a particularly vintage year for high fidelity equipment, including some that's actually affordable. I recently had to help some impoverished "friends" put affordable systems together, and was horrified to find them quite good. Nothing, it seems, can be kept from the masses.
Here, to my consternation, is some truly high class equipment which is declasse only in price. If you are looking for rock bottom prices in the high end, I would strongly recommend the Superphon Revelation Basic Preamp ($329) and the DH-120 ($…
Here's the deal: If you're the kind of listener who must listen to your stereo at levels that change the barometric pressure of your listening room, or if you can't enjoy reggae concerts because they don't have enough bass, then the ProAc Response 1S (revised) is definitely not the speaker for you. Read no further. Move on. Scoot.
Anybody left? Good. Now we can talk about a very special little speaker. In a way, I didn't even want to review the 1S. I mentioned to John Atkinson that I'd heard them at my buddy Ruben's house and enjoyed them immensely, but I'd been using a pair of $13,000…
In building a speaker, just as in performing music, countless decisions must be made concerning balance. I have, for example, eight recordings of Ravel's Piano Concerto in G—there's an ineffable melancholy in the second movement that moves me powerfully—and they're all performed well. Yet, time and again I return to two of them (footnote 5): the choices made by the artists seem right to me—they affirm my understanding of the piece. The 1S affirmed my musical values in the same way. This does not mean that others will respond similarly, any more than my appreciation of Michelangeli means…
Sidebar 1: Specifications
Description: Two-way dynamic design. Drivers: ¾" cloth-dome tweeter, 5" polypropylene-cone woofer. Crossover: not specified. Frequency response: 70Hz–20kHz, ±3dB. Impedance: 8 ohms nominal. Sensitivity: 85dB/W/m. Recommended power: 20–100W.
Dimensions: 12" H by 7" W by 9.25" D.
Finishes: teak, walnut, black ash (standard), others.
Serial numbers of samples tested: P02808 L/R, P02293.
Price: $1800/pair (1994); no longer available (2016). Approximate number of dealers: 35.
Manufacturer: ProAc, 130–132 Thirsk Road, Borehamwood, Hertfordshire WD6…
Sidebar 2: Measurements
The Response 1S's B-weighted sensitivity was to spec at 85dB/W/m. Its impedance plot (fig.1) suggests that it will be relatively easy to drive, with a minimum magnitude of 5 ohms between 200 and 300Hz.
Fig.1 ProAc Response 1S, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.).
Moving to the frequency domain, fig.2 shows the individual amplitude responses of the woofer, tweeter, and port. As suggested by the impedance plot, the port's bandpass peaks just above 70Hz, which coincides, as it should, with the minimum-…
One hit wonder is an ugly term. In the case of Velvet Crush, it’s really more like one album wonder. While I and other pop power indie fanboys always loved the rest of the band’s catalog, especially Free Expression (1999) and Soft Sounds (2002), the band’s sole highlight, the record that captured the moment in time, and still exudes that energy when you put it on is 1994’s Teenage Symphonies to God. Pre-Teen Symphonies, a new CD/MP3 by Los Angeles-based Omnivore Records, a reissue label that’s growing more interesting with each release, features demos for that original album and a killer live…
How the hell could I have missed Cecile McLorin Salvant? It's not as if she's been toiling in obscurity. She won the Thelonious Monk award in 2010, the Downbeat Critics' Prize for best jazz album (WomanChild) in 2014, and a Grammy for best jazz vocal album ( For One to Love) just this year. She's been singing with her trio at the Village Vanguard this past week, and every set has been sold out or nearly so. Again, how did I—someone who's supposed to follow this sort of thing—miss the boat?
For some reason, her publicist passed by my name in sending out review copies of her albums, though…
Ronald Levin "Ron" Carter is arguably the greatest upright jazz bassist to have ever walked four strings, and he's literally the most recorded bassist of all time. "With 2,221 individual recording credits, as verified on 15 September 2015," notes Carter's website.
Making his collective jazz debut on three important LPs: Howard McGhee's Dusty Blue (Bethlehem, 1960), Nat Wright's The Biggest Voice in Jazz (Warwick, 1961), and Charles Persip and the Jazz Statesmen (Bethlehem, 1960), Carter launched a career in music personified by an ability to master any style, the acuity to execute precise…