Analog source: Simon Yorke Series 7 turntable; Graham 2.2, Immedia RPM2 tonearms; Lyra Helikon mono, Lyra Titan, Sumiko Blackbird cartridges.
Digital source: Musical Fidelity Tri-Vista SACD player.
Preamplification: Manley Steelhead, ASR Basis Exclusive phono sections; Hovland HP-100, Musical Fidelity kWP, VTL TL-7.5 preamplifiers.
Loudspeakers: Wilson Audio Specialties WATT/Puppy 7, Aerial Acoustics 20T.
Cables: Phono: Hovland Music Groove, Graham IC-70, Cardas Neutral Reference Balanced. Interconnect: Harmonic Technology Pro-Silway III &…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
I measured the Enterprise with both balanced and unbalanced signals; there was no appreciable difference between the two modes. Neither input inverted signal polarity, and the input impedance at 1kHz was a high 52k ohms unbalanced, 82k ohms balanced. The unbalanced voltage gain into 8 ohms was 25.3dB, a little lower than average. Surprisingly, the balanced gain was even lower at 25dB, 6dB lower than specified. However, it's fair to point out that this will not be a problem for any good preamp, especially Theta's own digital processors, which have very high output…
Sidebar 4: Manufacturer's Comment
Editor: "Wow, this is a really terrific review!" I thought, as soon as I got to the beginning of Michael Fremer's comments on the sound of the Enterprise. The second paragraph [of that section] starts with, "If you like your power amps on the rich and warmish side, the Enterprise probably won't be to your liking, though it will certainly gain your respect. If you like cleanness, transparency, and sonic law and order, the Enterprise will mesmerize you with clarity and definition—I could see into the soundstage for miles. It achieved its astonishing…
For a while, I've been hearing rumors that the record-club editions of popular compact discs differ from the original versions produced by the record companies. I've met listeners who claim their club versions are compressed in dynamics, and some have reduced bass. Perhaps the clubs, in their infinite wisdom, think the typical member has a lower-class stereo system (in fact, the opposite may be true). Maybe these lower classes could benefit from some judicious dynamic compression, equalization, and digital remastering.
On the other hand, I can see no financial motivation for producing…
Test #1: Peak Level
First I measured Mark's CDs. I loaded the first two minutes of track 1 from each of the eight CDs (four pairs) into a Sonic Solutions CD mastering system and proceeded with three increasingly demanding tests. If the CDs failed Test #1---a simple comparison of the peak levels of the two CD editions---it was all over. I was almost disappointed to discover that all the CDs passed the peak-level test (Columbia House and record-company editions of each title had identical peak levels). But a CD can be compressed in dynamics and still have the same peak level, just like…
First I measured Mark's CDs. I loaded the first two minutes of track 1 from each of the eight CDs (four pairs) into a Sonic Solutions CD mastering system and proceeded with three increasingly demanding tests. If the CDs failed Test #1---a simple comparison of the peak levels of the two CD editions---it was all over. I was almost disappointed to discover that all the CDs passed the peak-level test (Columbia House and record-company editions of each title had identical peak levels). But a CD can be compressed in dynamics and still have the same peak level, just like…
Further evidence
From my work with various audiophile record companies, I have discovered that CDs from different plants mastered from identical sources sound subtly different. Recently, a mastering engineer played me a pressing that was so degraded from the master that we thought it had been equalized; there was an audible edge in the 2-5kHz region. There is no question that double-speed CD mastering increases jitter. Though this CD was not mastered at double speed, CD plants have been wont to master at double and even triple speed in an effort to reduce costs and increase profits.…
From my work with various audiophile record companies, I have discovered that CDs from different plants mastered from identical sources sound subtly different. Recently, a mastering engineer played me a pressing that was so degraded from the master that we thought it had been equalized; there was an audible edge in the 2-5kHz region. There is no question that double-speed CD mastering increases jitter. Though this CD was not mastered at double speed, CD plants have been wont to master at double and even triple speed in an effort to reduce costs and increase profits.…
I have a theory about "showing off" systems. I call it Zen and the Art of Keeping Your Yap Shut. Think about it: what's the first thing that pops into your head when someone tells you how great their system sounds? "Yeah, right!"
You know the score: just when you think you've never heard your hi-fi rig sounding better, you invite some friends over to show it off. And as sure as Michael Bolton wears a truss, they hate it.
"The bass could be a little less boomy," says the guy with the minimonitors at home.
"Heavens, it is a bit hard on top, old salt," sniffs the chap with…
No more head-in-a-vise
"Ok, put your head riiiiiiiiiiight there! Now, is that a soundstage, or is that a soundstage?!"
"Ok, put your head riiiiiiiiiiight there! Now, is that a soundstage, or is that a soundstage?!"
"Ungh...I—I think I hear it—"
"YOU MOVED YOUR HEAD AGAIN!! Aw, forget it!"
LATER with that audiophiliac nonsense! The Response Twos give you the same tight, holographic imaging as speakers like the Wilson WATTs, Celestion 700s, and Spica Angeluses, no matter where you wanna sit. Set up well away from the side and rear walls, the ProAcs just simply disappear, leaving behind an ambient soundfield that changes very little with head movement. I had a…
Sidebar 1: Specifications
Description: Stand-mounted, two-way, reflex-loaded loudspeaker. Drive-units: ¾" soft-dome tweeter, 6.5" bass/midrange unit. Frequency response: 55Hz–20kHz, ±3dB. Nominal impedance: 8 ohms. Sensitivity: 86dB/W/m.
Dimensions: 18" H by 9" W by 11" D.
Finishes: teak, walnut, black ash.
Serial numbers of samples tested: P11935 (both).
Price: $3000/pair, matching Target RS2 stands cost $700/pair (1992); no longer available (2005). Approximate number of dealers: 35.
Manufacturer: ProAc, Highpoint House, Riding Road, Buckingham Road Industrial Estate,…
Sidebar 2: System
I used the ProAcs as my main speakers for three months; driven mostly by VTL Deluxe 225 amps, they also tangoed with the new Dynaco Stereo 70-II, Nobis Cantabile, and Muse Model One Hundred amps. The rest of the system included my buffered-passive preamp, an Audio Research SP-14's phono stage, and a Well-Tempered Record Player fitted with a Sumiko Blue Point cartridge. Digital sources were a Theta Data/Pro Basic II combo and the Proceed CD Library I'll be writing about next month.
Interconnects were Kimber KCAG throughout, except for AudioQuest Silver Lapis…