Description: Solid-state preamplifier with three line-level inputs, one MM phono input, two tape loops, and bass and treble controls. Specifications: Frequency response (line): 10Hz–80kHz ±0.05dB (tone defeat on). Input impedance: 47k ohms in parallel with 150pF (phono), 47k ohms (line). Measured output impedance: 700 ohms (main). Maximum output level: 10V RMS at less than 0.02% THD. Sensitivity (phono): 2.6mV RMS input at 1kHz for 1V output. Sensitivity (line): 200mV RMS input at 1kHz for 1V output. Maximum input levels at 1kHz: 220mV (phono), 2V (line). S/N…
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Basically, I have to admit that I am a Valvophobe. I would give you the dictionary definition of that word, but it has been sealed in a mayonnaise jar on Funk and Wagnall's porch since . . . Anyway, you get the idea. A Valvophobe is someone who doesn't like tubes in their 1986 stereo systems.
Harvey Rosenberg, the not-unflamboyant President of New York Audio Labs (NYAL), recently sent me a curious little black box he is purveying. Christened with the unlikely name of "SuperIt," this device turned out to be a hybrid tube/MOSFET phono preamp. When I say phono preamp, I mean just that! It…
Manufacturer's Comment
Footnote 1: Harvey Rosenberg passed away in 2001.
Editor, I have a dream. I want the average man to be able to own a reliable/affordable sound system that possesses the quality of the best tube gear. The SuperIt, which exploits our new Moscode hybrid tube/FET hypercascode circuit, is just the beginning. Can you imagine tube gear without tube tremors? There will be a $169 It available in December.—Harvey Rosenberg, Elmsford, NY (footnote 1)
Footnote 1: Harvey Rosenberg passed away in 2001.
Anthony H. Cordesman wrote about the SuperIt in December 1986 (Vol.9 No.8):
After reading GMG's comprehensive review of the SuperIt in Vol.9 No.6, I couldn't resist a second look at this significantly low-priced product.
Ever want to add a second phono input to your preamplifier, have a second hi-fi system for phono only, want to add a phono input to a tape recorder, or simply have a cheap stereo system built around nothing but a phono input? Well, now from the same laboratory that first brought you Shostakovich with digital cannons comes the SuperIt!
If you are…
Sidebar 1: Specifications
Description: Tube/MOSFET hybrid phono preamplifier.
Price: $269 (1986); no longer available (2018).
Manufacturer: New York Audio Laboratories, Elmsford, NY 10523 (1986); company no longer in existence (2018). Web: www.meta-gizmo.org/index.html.
The outrageous-looking—and outrageously expensive—Kalista CD player from French manufacturer Métronome graces the cover of our September issue, which will hit mailboxes, newsstands, and tablets this weekend. Read Art Dudley's review to find out what he heard.
And there's a lot more in this issue: Herb Reichert auditions a controversial DAC from BorderPatrol—16 bits, no oversampling, and a tube power supply—and takes a listen to the updated Schiit Yggdrasil DAC; Art Dudley reviews a tube amp from Luxman; Ken Micallef writes about a tiny but powerful class-D amplifier from Mytek; John…
Inveterate news junkies of the world, your way out has come. For at least one good hour of your otherwise doom-laden day, you have a reason to turn off Fox or CNN and drift on feathery clouds to a far sweeter place. Your exit has been most graciously supplied by pianist Stephen Hough—he of Stephen Hough's Dream Album—whose latest recorded achievement may well be hailed as the most engaging, charming, and delightful recording of the year... or even the decade.
Hough not only has a special fondness for the little gems of yesteryear; he is also gifted with the ability to imbue pieces that…
The blowout happened as I climbed the stairs from the basement, where I'd just spent two hours listening to musi on my hi-fi. Standing rigidly in the archway, a wet sheen of hurt trembling in her eyes, my wife shouted: "You love your audio more than you love me!"
It erupted with such raw emotional force that I knew exactly what she meant, and that she was right: I spent more quality time with my audio than I did with her—or, for that matter, with either of my two homebound teenagers. It was nothing personal; my listening room is my private safe place, conceived and realized in my own…
In a series of recent feature articles for Stereophile, Jim Austin has examined how the controversial MQA codec works: "MQA Tested, Part 1," "MQA Tested Part 2: Into the Fold," "MQA Contextualized," "MQA, DRM, and Other Four-Letter Words," and, most recently, "MQA: Aliasing, B-Splines, Centers of Gravity." I doubt there is a Stereophile reader who is unaware of the fracas associated with MQA, and I have been repeatedly criticized on web forums for describing its underlying concept as "elegant."
But elegant it is, I feel. MQA Ltd.'s Bob Stuart has described the goal of MQA as being to…
I shouldn't have been surprised. When I interviewed Charley Hansen (who, sadly, passed away in November 2017) in 2012 about the design of the QA-9, he explained that "instead of using the normal low-pass Finite Impulse Response (FIR) filter to turn the output of the delta-sigma DAC into PCM, we use a moving-average filter. This doesn't just allow for improved transient response, but actually perfect transient response. . . . There is no pre-ringing, no post-ringing—no ringing whatsoever."
Sample-Rate Conversion
These results reveal that, with the exception of the dCS 904 with its F4…