In the past five years, a number of Japanese…
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Japanese audiophiles venerate American high-end audio components, paying huge sums for vintage Marantz tube amplifiers, racks of Levinson ML-2s, and early Audio Research tube preamplifiers. The balance of trade, at the high end anyway, hasn't been reciprocated: Japanese high-end amplifiers and preamplifiers have not received as positive a reception in the US. Perhaps it was a matter of styling, but the sonics of the Sony Esprit line and the class-A Stax amplifiers did not receive the following they might have, had the products been American.
By far the most complicated of the three preamps i review in this issue in terms of facilities offered, NAD's "Monitor Series" 1300 ($398) provides two buffered tape loops, an external processor loop (which can also be used as a third tape-recorder loop), a headphone output, a "null" switch, switchable bass equalization to extend the low-frequency range of small loudspeakers, and treble and bass controls, each with a choice of three turnover frequencies: 3kHz, 6kHz, 12kHz, and 50Hz, 125Hz, 250Hz, respectively. An 18dB/octave infrasonic filter, cutting the response below 20Hz (–3dB at 14Hz)…
Sidebar: Specifications
Description: Solid-state class-A stereo amplifier. Rated power: 105W per channel, continuous (8 ohms); 210W per channel, continuous (4 ohms); 400W continuous, bridged (8 ohms). IHF Dynamic Power: Not given. THD+Noise: 0.008%, IM Distortion: 0.025%. Frequency response at 1W output: 10Hz–100kHz, +0, –1.5dB. Slew Rate: 20V/µs. Polarity: Non-inverting. Input impedance: Direct-in, 300k ohms; via attenuator, 45k ohms. Voltage gain: 32dB. S/N ratio: 120dB. Meters: dual analog, with peak-reading circuitry and peak hold functions. Switchable for stereo or bridged (BTL)…
When it came to the midrange, the NAD had a slightly "reedy" signature, most noticeable on massed strings, while high frequencies were very slightly exaggerated. The snare and hi-hat sounds on the drumkit track on the HFN/RR Test CD were just a little bit "whiter," or crisper. This wasn't nearly so extreme as to introduce any high-frequency "grain," but while the resolution of recorded depth in general was excellent, this aspect of the NAD's tonality did render the soundstage rather more shallow in the treble. While the fine detail of recorded ambience was easily to be heard via the NAD,…
Sidebar 1: Review System
Putting my customary preamplifier, the Krell KRS-2, to one side, the references used for this review were the $635 Audio by Van Alstine Super PAS (reviewed in October 1998), and the $659 PS Audio 4.6 (reviewed in September 1988 by Tom Norton) used with its normal external power supply, not the $469 M-500 upgrade. For reference purpose, the RIAA response of the PS 4.6 is Flat through almost the entire audio band, with a well-extended bass response, though it starts to roll off at the top of the top audio octave.
Power amplification was provided either by…
Sidebar 2: Measurement
I ran a conventional set of measurements, not so much to find a cause behind any facet of the NAD's sound quality, but to see if there were any particular aspects which would lead to system incompatibility problems. At this price level, I would be surprised by any electronic component that didn't depart from neutrality, so careful system matching is even more essential with an affordable preamplifier than with expensive models.
The moving-magnet RIAA response is shown in fig.1. Sensibly curtailed in the bass with the infrasonic filter on, it starts to rise…
Sidebar 3: Specifications
Description: Solid-state preamplifier with three line-level inputs, one phono input (MC or MM), headphone output, two tape loops, one external processor loop, and bass and treble controls. Specifications: RIAA error (phono): ±0.3dB. Frequency response (line-level): –0.3dB points at 20Hz and 20kHz. Input impedance: 47k ohms in parallel with 100/200/320pF (MM phono), 100 ohms in parallel with 1000pF (MC phono), 100k ohms in parallel with 220pF (line). Output impedance: 150 ohms (Normal, High), 1000 ohms (Tape/EPL). Maximum output level: 12V RMS (Normal), 12V RMS…
This review and its companion that will follow next week spotlight two very different and equally recommendable recordings of contemporary music with a common theme: the quest for freedom and justice in perilous times. This week's special, Lament/Witches' Sabbath (New Focus Recordings), due out today (November 9), contains four works by Mathew Rosenblum, an East Coast composer who occasionally ventures into forbidden territory as he blends percussion, acoustic instruments, electronics, voice and microtonal elements in extremely visceral, moving, and sometimes gut-wrenching ways.
Recorded…
I love the New York Audio Show. I wish all American audio shows could take place at The Park Lane Hotel at 36 Central Park South. Why? Because NYC has more excellent audio dealers than any towns not touching the Pacific ocean. And because, when I need a break from hotel halls and Eagles singing Diana Krall, I can sit on a bench in Central Park's Hallett Nature Sanctuary and watch the turtles on rocks—or have snacks at the Plaza Food Hall. November 9th–11th is a way cool time for a show because the trees in the Sanctuary are all yellow-to-red aglow. Not to mention, I could ride my bike there…
A fun fixture of every audio show is the hanging badge-on-a-lanyard we all acquire at the registration table. I'm glad for these things—at least the large-print editions—because they help me overcome the steady embarrassment I feel because I can't remember any names. If you know me, I am sure you have talked to me while I've stared at your belly trying hopelessly to memorize your name. Unfortunately, somebody with deeper character flaws than mine decided that these badges should hang on swiveling clips—enabling more than 50% of them to be facing the wrong way. Yesterday I realized this design…