search
As the sonata drew to a close, Roon suggested…
Description: Three-way, four-driver, reflex-loaded, floorstanding loudspeaker. Drive-units: 1" (25mm) silk-dome tweeter, 7" (178mm) cellulose-fiber/paper pulp-cone midrange, 8" (203mm) paper-cone woofer, 10" (254mm) paper-cone woofer. Crossover frequencies: not given. Frequency response: 19Hz–32kHz, ±3dB, room-averaged response. Sensitivity: 89dB/W/m. Impedance: 4 ohms nominal, 2.54 ohms minimum at 85Hz. Minimum amplifier power: 20Wpc.
Dimensions: 53" (1347mm) H by 15.25" (387.4mm) W by 22.875" (580mm) D. Weight: 260 lb (117.9kg).
Finish: Multiple…
Analog Source: Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B cartridge.
Digital Sources: NAD Masters Series M50.2, Roon Nucleus+ digital players; Ayre Acoustics C-5xeMP universal player; Ayre Acoustics QX-5 Twenty, PS Audio PerfectWave DirectStream D/A converters; Ayre Acoustics QA-9 USB A/D converter.
Preamplification: Channel D Seta L phono preamplifier.
Power Amplifiers: Bricasti Design M15, Constellation Centaur II 500, Lamm Industries M1.2 Reference (monoblocks).
Integrated Amplifiers: Luxman L-509x…
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Wilson Alexia 2's frequency response in the farfield, and an Earthworks QTC-40 for the nearfield and spatially averaged room responses. Because of the speaker's weight, I was unable to raise it off the ground for the measurements, which reduced the resolution of the frequency-response graphs in the midrange. And as with the original Alexia, there was the problem of which axis to place the microphone on for the farfield measurements. I wanted to measure it at my standard 50" microphone…
Ever since loudspeaker designer Jeff Joseph, owner of Joseph Audio, delivered and carefully positioned in my Bed-Stuy bunker a pair of his stand-mounted Pulsar loudspeakers ($7700/pair without stands, serial nos. P-0187L/R), I've been experiencing a new variety of audio pleasure. I'd experienced short, scattered moments of a similar pleasure in Joseph's rooms at various audio shows, but I'd never been able to understand its cause or perceive its full nature until I heard the Pulsars in my home system. As I told Joseph as…
Praise it all you want, but digital audio is still my second choice: In a life in which the enjoyment of art is infinite but the hours in which to do so are limited, and given the choice between listening to LPs and 78s on the one hand or files and CDs on the other, digital is a waste of my time: It doesn't connect me with the music as well as analog does, period. In my experience, digital audio isn't evil, merely banal.
But digital is getting better all the time, and part of my job description is to…
Xenakis: Psappha. Morton Feldman: The King of Denmark.
Kjell Tore Innervik, percussion
2L 2L-141-SABD (SACD/CD, BD, downloads: DXD, DSD256, MQA). 2018. Morten Lindberg, prod., editing, mix, mastering, balance; Beatrice Johannessen, rec. technician. DDD. TT: 46:04
Performance *****
Sonics *****
With 32 Grammy nominations, 24 for Recording Engineer and Music Producer, Morten Lindberg and his 2L label continue to issue one astounding recording after another. Their recordings are…
I'm sitting in a rented Nissan just off Highway 61—yes, that Highway 61—looking out at a Shell station through the bug-stained windshield and across a litter-strewn, not-yet-planted cotton field. It's late March, and I've just left Clarksdale, Mississippi, on my way to Memphis. Leaving Clarksdale made me thoughtful, so I've pulled over to jot down a few notes.
Clarksdale—specifically, the intersection of highways 61 and 49, at the town's southern edge—is the crossroads where, according to legend, Robert Johnson encountered the Devil and exchanged his soul for his…