The frequency response the speaker was measured in the listening window—spatially averaged to minimize room standing-wave problems—using a 1/3-octave warble-tone generator, which is said to be a little more analytical than the filtered pink-noise signal I have used in the past; in addition, the nearfield low-frequency response of each speaker was measured with a sinewave sweep to get an idea of the true bass extension relative to the level at 100Hz. The change of impedance with frequency and the voltage sensitivity (using 1/3-octave pink noise centered on 1kHz)…
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Sidebar 3: Specifications
Description: Three-way, transmission-line, floor-standing loudspeaker. Drive-units: ¾" (19mm) soft-plastic-dome tweeter, 4" (102mm) cone midrange driver, 8" (203mm) cone woofer. Crossover frequencies: not specified. Frequency range: 26Hz–20kHz. Sensitivity: 91dB/W/m. Nominal impedance: 8 ohms. Amplifier requirements: 50W max. (RMS, pink noise continuous), 300W peak program.
Dimensions: 49" (1245mm) H by 19.5" (495mm) W by 8" (203mm) D. Weight: 49 lbs (22.3kg).
Price: $1099/pair (1988); no longer available (2017). Approximate number of dealers: 200 (1988…
The 2200i's remote control is small enough to sneak behind the seat cushions if you're not watching carefully. It has buttons for power, input, mute, and navigation, plus three function buttons that can be programmed to access various features. I set up F1 to access the configuration menu (for choosing subwoofer on or off), and F2 to access the PEQ menu (to turn it on or off rapidly to quickly sample its effect). Once in the selected menu, you can use the navigation controls to move around within that menu or return to the home menu, though from the listening seat it's not easy to see, on…
Sidebar 1: Equalization Setup
To set the Classé's parametric equalization filters, I used the Dayton Audio OmniMic measurement system. While less sophisticated than the setup John Atkinson uses for his in-room measurements, this relatively affordable device ($298 list) is a way for the tech-savvy audiophile to make good use of the PEQ offered in the Sigma 2200i.
The measurements I made were performed at the listening seat, with 1?6-octave smoothing. I made only single-point (not position-averaged) readings, as that was the only way to ensure consistent microphone positions pre-…
Sidebar 2: Specifications
Description: Solid-state integrated amplifier with remote control. Analog inputs: 2 unbalanced line-level (RCA), 2 balanced (XLR). Digital inputs: 2 coaxial, 2 TosLink, 2 USB (Host and audio), 4 HDMI. Outputs: L/R speaker, headphones, HDMI, 2 mono subwoofer (1 balanced XLR, 1 unbalanced RCA). Other connectors: Ethernet, IR. Power output: 200Wpc into 8 ohms (23dBW), 400Wpc into 4 ohms (23dBW). Frequency response: 10Hz–20kHz, –1dB, into 4 ohms. Gain: –93dB to +14dB. Total harmonic distortion plus noise: 0.018% at 1kHz, both channels driven to 1/8 power into 4 ohms…
Sidebar 3: Associated Equipment
Digital Sources: Marantz UD7007, Oppo BDP-105D universal BD players.
Preamplification: Marantz AV8802a surround preamplifier-processor.
Power Amplifier: Proceed Amp 5.
Loudspeakers: Monitor Audio Silver 10, Revel B15 subwoofer.
Cables: Digital: Kimber Kable AGDL (coaxial). Interconnect: Cardas Hexlink Five. Speaker: Monster Cable M1.5. AC: generic.—Thomas J. Norton
Sidebar 4: Measurements
I measured the Classé Sigma 2200i with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). Out of the box, I ran into problems. Despite Classé's excellent manual, I couldn't at first define one of the Sigma 2200i's digital inputs to accept USB data. Eventually, I got the input to behave by defining the input, then turning the amplifier off and back on again. Then, I couldn't get the Sigma 2200i to accept a balanced signal at the input marked "XLR L1/R1." But then I remembered that, when I was setting up the USB input with the onscreen menu, I'…
Is there such a thing as a bad Lightnin' Sam Hopkins record? No, but there are a lot of badly recorded Hopkins records. Happily, Goin' Away originally released in 1963 on the Bluesville label (an imprint of Prestige Records) isn't one of them. And the already good sonics have even been improved in yet another superb 180gram Analogue Productions LP reissue.
Even in the colorful universe of the blues, the Houston-area native was a singular personality. A raconteur and a bit of a scoundrel, Sam is often pictured with a big toothy smile and a lit cigarillo. Hugely underrated as a guitar…
Ah, Carolyn Sampson. Ah, Mozart. Put both of you, along with the Great Mass in c and the marvelously tuneful early motet, Exsultate, jubilate, in the hands of Masaaki Suzuki and the period-instrument Bach Collegium Japan. Then, record it all in 24/96 for a BIS SACD, which you can download in its original format from multiple sites, and the results are pure pleasure.
Sampson first. This early-music soprano, who has now branched out into song—I will review, for San Francisco Classical Voice, her song recital in San Francisco on May 17, and previously gave Fleurs, her song recital on BIS…
In this 1 Minute Audiophile Escape we visit my personal system.
I switch back and forth between a Fisher 800-C receiver and a Sherwood S-5500 II amplifier. My sources are: a KAB-modified Technics SL-1200 Mk. 2 with an Audio Technica AT440MLa cartridge on a Technics headshell, and an iPhone 6 or MacBook Pro through an AudioQuest Golden Gate interconnect (RCA to 3.5mm). These connect to Rogers LS3/5A speakers atop Skylan speaker stands via AudioQuest Type 4 speaker cables.