The Degritter in use: I used the Degritter for longer than a usual review cycle because I wanted to assess its reliability. My months of use suggest that it is reliable, and it's a smooth operator: quiet, glitch-free, and a pleasure to use. Drop in a record, select the program,…
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The illuminated right button includes multiple, real-time status displays showing remaining program time as well as a circular progress bar and a water-cooling indicator. There's even an SD card port to install downloaded software updates. This is a smartly designed machine, and it comes with a 2-year warranty.
Sidebar: In Heavy Rotation
Spiritualized: Ladies and Gentlemen We Are Floating In Space
(VMP-E093) 2 LPs
Marsalis & Marsalis: Ellis Marsalis & Jason Marsalis (Newvelle New Orleans Collection)
Test Pressing
Lang Lang: Bach Goldberg Variations
(DG 481 9736 2 LPs)
Various Artists: Angelheaded Hipster The Songs of Marc Bolan and T. Rex
(BMG) 2 LPs
I'm a sucker for materials, whether it's finishes for loudspeakers and other audio equipment, a shoe's fine, supple leather, a crisp cotton shirt, or a cozy cashmere scarf.
Apart from their inherent sensuousness, materials can make a difference in the sonics of audio components, especially loudspeakers.
Exotic wood enclosures are old hat. Carbon fiber isn't exotic anymore. Glass seems an odd choice for a loudspeaker enclosure—but that's the choice made by Perfect8 speakers, which I encountered at T.H.E. Show in Newport Beach a few years back. And then there are the Jörn speakers…
When Sefton visited my home to set up the new SRBs, he placed the speakers 7' 6" apart, facing directly forward, with no toe-in, 11' 6" from my listening chair and 3' 8" from the rear wall. The sound was spacious, detailed, immediate. Scott told me that the preferred vertical listening axis is anywhere from slightly below the tweeter axis, to the midpoint between the woofer's axis and tweeter's axis, taking into account the slight tilt of the speaker's front baffle; this matched the height of my listening position.
After Sefton left, I experimented, settling on a setup with listening…
Sidebar 1: Specifications
Description: Two-way, bass-reflex loudspeaker. Drive-units: 1" beryllium-dome tweeter; 5.5" sandwich paper-cone midrange/bass. Crossover frequency: 3kHz. Binding posts: Cardas, rhodium over pure copper. Frequency range: 43Hz–35kHz. Nominal impedance: 8 ohms. Sensitivity: 86.5dB/W/m.
Dimensions: 9" (26.5mm) W × 11" (279mm) D × 13" (330mm) H. Weight: 59lb (26.8kg) each. Metal stands: 27" (28" with spikes) × 14" × 15". Weight: 43lb each (19.5kg). Granite stands: 27" (28" with spikes) × 17" × 16.5". Weight: 93lb (42.3kg) each.
Cabinet material: High-polish…
Sidebar 2: Associated Equipment
Digital source: MBL N31 CD player/DAC.
Analog source: Clearaudio Performance DC Wood turntable with Tracer tonearm and Talismann MC cartridge.
Preamplification: Boulder 508 MC/MM phono preamplifier.
Amplification: VAC Sigma 170i integrated amplifier; MBL N51 integrated amplifier; Soulution 330 integrated amplifier.
Cables: Ansuz Acoustics D2, AudioQuest NRG, and Morrow Audio (interconnects and other cabling).
Accessories: AudioQuest Niagara 1000 Low-Z Power Noise-Dissipation System with NRG 10 power cord, and Vodka Ethernet cable,…
Sidebar 3: Measurements
I used DRA Labs' MLSSA system and a calibrated DPA 4006 microphone to measure the Acora SRB's frequency response in the farfield, and an Earthworks QTC-40 mike for the nearfield and in-room responses. My initial measurements were performed on one of the original samples auditioned by Julie Mullins, serial number TIB0010. After Acora found out that the first samples had been incorrectly assembled with the tweeters wired in the wrong polarity, which resulted in a massive suckout in the crossover region, they submitted new samples. I performed a complete set of…
Talk about a Scarlet Letter. The term class-D amplification, which describes PS Audio's new M1200 monoblocks, exists only because another amplifier innovation had already parked in the "C" space. Soon after appearing in high-performance audio gear, class-D became synonymous with "digital amplification" in part because, like early CDs, many listeners found the sound glary, hard, and unpleasant. Besides, class-D is related to "pulse width modulation" and requires a low-pass filter to block high-frequency pulses—that sure sounds digital. But they're not (see sidebar).
To this day, many audio…
"Punchy" doesn't begin to describe the M1200's low-end solidity, extension, rhythmic swagger, and complete freedom from overhang. I played a plain American pressing of David Bowie's Station to Station (RCA APL 1-1327); following the train drive-by, George Murray's bass line kicks in, followed by a single Dennis Davis drum "thwack" that felt as if the woofer cones might have broken free of the baskets if I had played it much louder, taking the surrounds with them! The energy concentration on and around individual notes was one of the M1200's most memorable characteristics.
The middle and…
Sidebar 1: Is Class-D Digital?
When I first read Mikey's introduction to this review, I was struck by his matter-of-fact statement that class-D isn't digital. Really? Are you sure?
Yes, I know the D in class-D doesn't stand for digital, but that doesn't mean the technology isn't digital. After all, in a class-D amplifier, the signal fluctuates rapidly between two levels, just as it does in DSD—what could be more digital than that?
Fact is, I've always thought of class-D as digital, and of class-D–isn't-digital claims as marketing propaganda propagated by people who want…