Description: Two-channel, tube power amplifier. Tube complement: four matched pairs 6550C output; four 6922 drive; four 6922 input. Power output: 100Wpc continuous, 20Hz–20kHz, into 8 ohms (20dBW). Power bandwidth (–3dB): 15Hz–80kHz. Frequency response at 1W: 1Hz–100kHz, –3dB. Total harmonic distortion: typically 1% at 1kHz at 100W, below 0.05% at 1W. Input sensitivity: 1.0V RMS (balanced or single-ended) for rated output. Input impedance: 200k ohms balanced, 100k ohms single-ended. Overall negative feedback: 10dB. Slew rate: 15V/µs. Risetime: 3µs. Hum and noise…
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Sidebar 2: Associated Equipment
For this review I used the Goldmund Studio/Syrinx PU-3/Koetsu Urushi and California Audio Labs Delta/Sigma II front-ends, Vendetta Research SP-2C and EAR 834P phono stages, Audible Illusions Modulus L1 and Audio Research Reference 1 line stages, and Acarian Systems Alón V Mk.II and Circe loudspeakers. Wires included MIT Digital Reference and MI-350 CVTwin Terminator interconnects, and Acarian Systems Black Orpheus tri-wired speaker cable.—Robert J. Reina
Sidebar 3: Measurements
A full set of measurements of the Audio Research VT100 was made using its balanced inputs, with selected measurements repeated in the unbalanced mode, as noted below.
Following preconditioning/warm-up, the VT100 was very hot, though not hotter than the normally expected range for a tube amplifier. The Audio Research VT100's input impedance measured 178k ohms (98.9k ohms, unbalanced). The output impedance (at the 8 ohm taps) measured a maximum of 1.26 ohms at 20Hz and 1kHz, and 1.54 ohms at 20kHz. Voltage gain measured 23.8dB into 8 ohms (and an almost…
Although one of the most innovative firms in the audio electronics field, the David Berning Company seems determined to keep as low a profile as possible. The company advertises little, does not actively seek out new dealers, and seems content to let potential customers seek it out, as though to say "Okay, here's my product, take it or leave it." Thus, even though both Stereophile and The Absolute Sound, in a rare outbreak of agreement, a couple of years ago declared Berning's TF-10 to be one of the best preamplifiers available, most serious audiophiles are still unaware of the Berning…
Anthony H. Cordesman wrote about the Berning 2100M in July 1985 (Vol.8 No.3)
Wife: I read your draft reviews on the Futterman, Conrad Johnson, and Audio Research (footnote 2).
Husband: Ummmm.
Wife: If I were one of your readers, I'd think you missed a key point.
Husband: Urrmhm?
Wife: Doesn't the Berning 2100M cost less than half of all those other super amplifiers you are reviewing?
Husband: Umph.
Wife: Even if it wasn't the absolute best, wasn't the Berning 2100M directly competitive in most ways with amplifiers costing twice as much?…
Sidebar: Specifications
Description: All-tube stereo power amplifier. Rated power: 100Wpc (20dBW). Frequency response: 20Hz–50kHz, +0/–3dB at full power.
Dimensions: 5¼" H × 19" W × 17¼" D. Weight: 40lb.
Price: $2995 (1984). No longer available (2021).
Manufacturer: The David Berning Company, 11007 Candlelight Lane, Potomac, MD 20854 (1984); 12430 McCrossin Lane, Potomac, MD 20854 (2021). Tel: (301) 926-3371. Web: davidberning.com.
When the person on the street hears the term "high-end audio," they usually think of fancy, feature-laden systems that cost more than most houses. The unfortunate phrase evokes images of a lavish lifestyle replete with expansive Manhattan apartments and rolling country estates.
In reality, "high-end audio" has nothing to do with price, features, or complexity. It simply describes a subset of music-reproduction components designed to convey the musical experience in the most realistic way possible—at any price level. A $500 integrated amplifier designed by sensitive engineers to sound…
Sonic Frontiers makes much of their use of expensive, top-grade components in their products. Though the Integrated 1 doesn't have quite the parts pedigree of Sonic Frontiers' more expensive products, inside are found tweaky parts you wouldn't expect to see in a $1295 integrated amplifier: MIT and WIMA film- and metalized-polypropylene caps, Noble pots, Roderstein and Holco metal-film resistors, high-quality gold-plated RCA jacks, and Kimber internal wiring.
The Anthem Integrated 1 couldn't be more different from the similarly priced Linn Majik-I integrated amplifier that I review…
Sidebar 1: Specifications
Description: All-tube integrated amplifier. Tube complement: four 12AX7, one 12AT7, eight EL84. Inputs: four line, one tape loop, power amplifier in (all unbalanced on RCA jacks); phono input optional. Outputs: preamplifier out (line level, unbalanced), separate 4 ohm and 8 ohm loudspeaker terminals on 5-way binding posts. Power output: 25Wpc continuous into 4 or 8 ohms (14dBW/11dBW) with both channels driven from 30Hz to 15kHz at 1% THD. Frequency response: 15Hz–100kHz (–3dB) at rated power; 15Hz–150kHz (–3dB) at 1W. Signal/Noise ratio (ref. 25W): >83dB A-…
Sidebar 2: System context
I auditioned the amplifiers in my new (and temporary) smaller listening room with two pair of loudspeakers: the Aerial 5 ($1295/pair) and Linn's $795/pair Tukan, both mounted on the Aerial stands. Loudspeaker cables were bi-wired MIT Terminator 2, or a bi-wired run of AudioQuest Midnight/Argent.
The analog source was a heavily modified Well Tempered Turntable and Lary Pederson–modified Well Tempered Arm fitted with an AudioQuest AQ7000nsx cartridge.
Digital front-end was a Sonic Frontiers SFCD-1 CD player feeding the amplifiers through a 1m run…