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Choosing a moderately priced preamp has traditionally presented the audiophile with a host of serious problems. Most attempt to be all things to all listeners, expending resources on bells and whistles which would have been better expended on basic performance. Few have anything resembling a decent moving-coil stage. But there have always been a few designers (and companies) willing to expend much of their effort at the "low end of the high end." PS Audio has been such a company. Their new 4.6 preamp, an update and cosmetic clone of the earlier, well-received 4.5, is not at the top of their…
Ultimately I chose a vintage, broken-in, but otherwise little used (about 50 hours) Dynavector 17D. It was chosen because it was readily available, was at one time a state-of-the-art contender (it is no longer, of course, but remains fully competitive with any low-output moving-coil likely to be used with the 4.6), and, most important, it does not have a rising high-end response (footnote 1). My intent was to use the 17D and, if necessary, move on to the MC-One. Time did not permit the latter, but neither did I ultimately feel it to be necessary.
Listening
And it did take time to…
Sidebar 1: Review System
Associated equipment used to evaluate the 4.6 included the Well-Tempered Arm mounted on a VPI turntable, several power amplifiers but mainly PS's own 200Cx, the Epos 14 loudpeakers (primarily) and the VMPS Tower II/Rs (briefly).
CDs were played primarily on a CAL Audio Aria player. Preamps used for comparison included the Klyne SK-5A and Sumo Athena. Interconnects were all Monster M-1000, speaker cable Monster M-1.—Thomas J. Norton
Sidebar 2: Specifications
Description: Solid-state stereo preamplifier. Phono inputs: MM & MC. High-level inputs: 5. Separate tape control. Ability for 1 external loop. Frequency response: 10Hz–20kHz ±0.1dB. RIAA accuracy: 0.1dB or better. Input impedance: adjustable (100k ohms standard) (phono), 10k ohms (high-level). Input capacitance (phono): 150pF. Input overload: 160mV (MM), 10mV (MC), 2V (line). Distortion 0.01% or better. Maximum output voltage: 18V rms. Output impedance 50 ohms in active, variable in straight wire with maximum of 10k at lowest volume. S/N ratio MM: 82dB A-…
Sumo is one of a handful of American audio manufacturers dedicated to producing moderately priced products aiming for high-end sound; their most expensive product is the Nine Plus, at $1199 (although a more expensive Andromeda II is imminent). When I heard I was scheduled to review the Sumo Athena, I looked forward to the opportunity. A Sumo Nine (not a Nine Plus, which I haven't auditioned) had been my front-line power amplifier a few years ago. It was an excellent budget amplifier whose only serious shortcoming was its limited 60Wpc power output.
The Athena is, at present, Sumo's only…
Sidebar 1: TJN's System
Associated equipment used in auditioning the Athena included the Well-Tempered Arm on a VPI turntable, Grado MCX and Dynavector 17D pickups (a vintage, but little-used sample, this particular pickup chosen primarily for its very flat high end and otherwise good overall performance in the Well-Tempered Arm), PS Audio 200Cx and Sumo Polaris amplifiers (and, briefly, the Motif MS100), Epos ES 14 (primarily) and VMPS Tower II/R (briefly—to fill in for the low-end limits of the Epos) loudspeakers, and Monster M-1 loudspeaker cables and M-1000 interconnects.
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Sidebar 2: Specifications
Description: Solid-state stereo preamplifier. Frequency response: 20Hz–20kHz ±0.1dB, 1.5Hz–500kHz ±1.5dB. RIAA accuracy: 20Hz–20kHz ±0.25dB. Input impedance: 47k ohms (standard phono), 100 ohms (moving-coil; adjustable with plug-in resistors). Input capacitance (phono): 100pF. Input overload: 165mV (MM), 8mV (MC), unlimited (high-level). THD: 0.005%. S/N ratio: 85dB (MC), 80dB (MM), 100dB (line). Maximum output: 20V RMS.
Dimensions: 19" W by 1.75" H by 8.75" D. Weight: 8 lbs (estimated).
Price: $649 (1988); no longer available (2014). Approximate number…
I wish I could be enthusiastic about the Acoustat Spectra 11—an electrostatic/dynamic hybrid selling for $999/pair. At first glance, the Acoustat Spectra 11 looks like a good deal. They could almost be called knock-offs of the Martin-Logan Sequels—they're about the same size. As with the Sequels, there are moving-coil bass cabinets below, electrostatic panels on top. The Spectra 11 cannot be bi-wired and does not come with spikes. Tiptoes are recommended, and I used them. I let the speakers run in for about 24 hours before doing any serious listening.
First, the good points. The Spectra…
John Atkinson Listens
I did some brief but serious listening to the Spectra 11s before this issue went to press, and have the following comments to make. The range covered by the woofer (35–200Hz) measures and sounds between 3dB and 5dB too high in my room, which is about the same size as Sam's. This disparity will be less pronounced in larger rooms, and is most likely due to the fact that the woofer radiation is effectively omnidirectional while the electrostatic panel has a bipolar, figure-eight dispersion pattern. The in-room sound of the Spectra 11s is certainly rolled-off in the…
Thomas J. Norton reviewed the Spectra 11 in February 1990 (Vol.13 No.2):
Drat! There's just no way to do it. To let you, the readers, know all about one of the better loudspeaker deals around, without letting Acoustat (and their dealers) in on the secret. JA is bound to spill the beans just by sending the traditional prepublication draft to the manufacturer. Then Acoustat will send dealers copies, and before you know it, Bingo! Instant pressure to increase the price. Let's see now, if JA just misplaces Acoustat's zip code, then we print the published review in two-week disappearing ink…