Digital Sources: Oppo Digital BDP-105 universal BD player, Baetis XR2 PC-based music server, exaSound e28 multichannel D/A processor, QNAP TS569L NAS.
Preamplifiers: Audio Research MP1, Parasound Halo P 7.
Power Amplifiers: McIntosh Laboratory MC303, NAD Masters Series M22, Parasound Halo A 31.
Loudspeakers: Bowers & Wilkins 802 D3.
Cables: Analog Interconnect: AudioQuest Earth/DBS balanced, Kubala-Sosna Anticipation (RCA/XLR). Digital Interconnect: AudioQuest Vodka (HDMI) & Carbon (USB). Speaker: AudioQuest Oak/DBS biwire. AC:…
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Sidebar 2: Associated Equipment
I have been an advocate of small speakers since I began using BBC LS3/5a's in the late 1970s, continuing through Celestion SL6es in 1981, Celestion SL600s and SL700s in the late '80s, and B&W Silver Signatures in the mid-'90s. Yes, I do like accurate and extended bass reproduction—but you need a big speaker to be able to provide that, and, as the late Spencer Hughes, founder of Spendor, once remarked, "big speakers have big problems." I don't see the point of extending a speaker's low-frequency performance if the result is compromised soundstaging and midrange reproduction. And there is…
Sidebar 3: Measurements
I performed a full set of measurements on the Bel Canto Design e.One REF600M, using my Audio Precision SYS2722 system (see the January 2008 "As We See It"). As the REF600M uses a class-D output stage, ahead of the analyzer I used Audio Precision's auxiliary AUX-0025 passive low-pass filter, which eliminates noise above 200kHz that might otherwise overload the SYS2722's input circuitry.
The Bel Canto's voltage gain into 8 ohms measured 26.9dB from both its unbalanced and balanced inputs, though the latter result was obtained with the Audio Precision's…
Sidebar 1: Specifications
Description: Two-way, reflex-loaded, stand-mounted loudspeaker with integral stand. Drive-units: 1" (25mm) diamond-dome tweeter, 6.125" (155mm) laminated paper-cone woofer. Crossover frequency: 1.8kHz with first-order filters. Frequency response: 47Hz–50kHz, –3dB (near wall). Sensitivity: 83.5dB/2.83V/m. Nominal impedance: 8 ohms (7 ohms minimum). Maximum SPL: 106dB. Recommended amplifier power: 50W solid-state, 80W "digital" (class-D), 30W tube (8 ohm tap).
Dimensions: 38" (965mm) H (on integral stands) by 10.5" (267mm) W by 9.75" (248mm) D. Weight: 56 lbs…
Sidebar 2: Associated Equipment
Analog Source: Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B cartridge.
Digital Sources: Aurender N10 music server; Ayre Acoustics C-5xeMP universal player; dCS Rossini disc player & Rossini Clock; PS Audio PerfectWave DirectStream D/A converter; AudioQuest JitterBug, UpTone Audio ReGen USB cleaner-uppers; Ayre Acoustics QA-9 USB A/D converter.
Phono Preamplifier: Channel D Seta L.
Power Amplifiers: First Watt J2, Pass Labs XA60.5 monoblocks.
Loudspeakers: KEF LS50.
Cables: Digital: AudioQuest…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Arabesque Minissimo Diamond's frequency response in the farfield, and an Earthworks QTC-40 for the nearfield and in-room responses.
My estimate of the Minissimo Diamond's voltage sensitivity was 81dB/2.83V/m, which is both well below average and lower than the specified 83.5dB. This speaker needs a relatively powerful amplifier to play at satisfactory levels, but as it has a small-diameter woofer, its user will have to be careful not to overdrive it. However, as the solid…
Almost a year ago, I wrote in this space about Darcy James Argue's Real Enemies, a multimedia big-band spectacle making its debut at BAM's New Wave Festival in Brooklyn. I called it "a remarkable work, maybe an oddball masterpiece," but added that—owing to its intricacies and its flashy visual elements (15 screens of text and images from news clips and Cold War movies)—I'd need "a few more listens" to grasp the music's full measure.
The CD of Real Enemies (his third album, all of them on the New Amsterdam label) is out now, and having now taken those extra listens, I can drop the "maybe"…
It’s amazing the scorn for the Beatles solo work that the release of the new Live at The Hollywood Bowl has unleashed on the web. Okay, so the sum of the parts was undoubtedly better than the individual voices. But once the band broke up, the break was irrevocable. No matter how much anyone wished or still wishes, The Beatles were finished. No one’s ever said it better than George Martin in the original back cover liner for the original LP issue of the Hollywood Bowl record:
"Those who clamour for a Beatle reunion cannot see that it can never be the same again.”
So John, Paul,…
The Rocky Mountain Audio Fest is set to begin this Friday, October 7, from noon to 7 pm, in the mostly remodeled Denver Marriott Tech Center. The three-day audio show, which ends on October 9 at 4pm, promises 128 exhibit rooms, 32 vendor displays, plus three more in the parking lot (including the fabled Sony Magic Bus), 332 exhibit companies, and, at 62 exhibits, the largest CanJam ever.
Although participation is down by perhaps 30 rooms from the show's high—see below for the reasons why—RMAF seems poised to maintain its reputation as the North American audio show with the most product…
Last week, I experienced what may have been the greatest day of my life so far: the day I got to see Sir Elton John live in concert for the first time. This happened on September 27, 2016, in Allentown, PA.
Elton was joined by his usual band: Davey Johnstone (musical director, guitars, mandolin, banjo, vocals), Matt Bissonette (bass, vocals), Kim Bullard (keyboards), John Mahon (percussion, drums, vocals), and Nigel Olsson (drums, vocals).
It seems so simple—if you're a fan of a current performing artist, all you need to do is pay a large sum of money and you'll be granted semi-…