Description: Solid-state stereo power amplifier with class-D amplifier module and AFPC power supply. Inputs: 1 pair single-ended (RCA), 1 pair balanced (XLR). Outputs: 2 pairs of three-way binding posts. Power output: 200Wpc into 8 ohms (23dBW), 400Wpc into 4 ohms (23dBW). Frequency response: 20Hz–20kHz, –0.2dB. Voltage gain: 26dB. Input impedance: 15k ohms single-ended, 30k ohms balanced. Power consumption: <0.4W standby, 28W operating.
Dimensions: 5.7" (145mm) H × 16.9" (430mm) W × 15" (382mm) D. Weight: 26lb (11.7kg).
Finishes: Titanium, black.…
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Sidebar 1: Specifications
Sidebar 2: Associated Equipment
Analog sources: Dr. Feickert Analogue Blackbird turntable with Jelco TK-850L tonearm and Koetsu Rosewood Signature Platinum moving-coil cartridge.
Digital sources: Apple Mac mini computer running Audirvana+, Chord Qutest DAC; Integra DPS 7.2 CD player (as transport).
Preamplification: EMIA Phono step-up transformer, Musical Surroundings Phonomena II+ phono preamplifier; Rogue Audio RP-7 line-level preamplifier.
Power amplifiers: Bel Canto REF600M, Mytek Hifi Brooklyn, Pass Labs XA25, Rogue Stereo 100, Schiit Audio Aegir, Line Magnetic LM-518 IA (…
Sidebar 3: Measurements
I tested the Primare A35.2 with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). As the A35.2 has a class-D output stage, I didn't perform my usual preconditioning by operating the amplifier at one-third the specified power into 8 ohms for an hour. With a class-AB output stage, one-third power results in the maximum dissipation in the output devices, but this is not relevant with a class-D design. However, because class-D amplifiers emit relatively high levels of ultrasonic noise that would drive my analyzer's input into slew-rate limiting…
[Updated April 27]
On Tuesday, April 21, 20 major high-end audio manufacturers sent an open letter to Joel Davis, founder and CEO of JD Events, urging him to immediately cancel AXPONA 2020 or offer "the option of withdrawal and an immediate refund." (footnote 1)The letter argues that the COVID-19 pandemic "has clearly altered [the audio] landscape out of all recognition" and disputes the viability of the show's rescheduled dates from April to August 9-11.
AXPONA's decision to postpone the show instead of canceling it outright makes it an outlier among hi-fi shows. Munich High End…
Open letter to Joel Davis of JD Events [producer of AXPONA]
[Editor's Note: The following letter was distributed April 21st to people in the industry.]
Dear Joel,
Hi-Fi Shows have long been an important and familiar part of the audio landscape, as important to manufacturers and magazines as they are to consumers. But the shadow of the Covid-19 pandemic has clearly altered that landscape out of all recognition. Large segments of the US (and World) population are enduring limitations on travel and social interaction. Governments and city administrations are banning audiences…
This unique device is a solution to a problem that previously couldn't be solved.
There are, of course, any number of little boxes that can extract audio from the HDMI video bitstream; they began to appear on the market to fill a need for a way to route audio from a player's HDMI output In the recent past, you could buy a good-quality—even audiophile-grade—universal player and listen to SACDs via its good-sounding analog outputs. But good-sounding universal players are becoming scarce. People still want to play their discs, though, now and into the future, even after their current player…
Sidebar 1: Manufacturer's Comment
Editor: When I started my quest to extract DSD64 and 24/192 PCM from discs to an external DAC, I knew legality was paramount. USB and AES/EBU outputs would have stripped the HDCP encoding, so I went with S/PDIF Coax/Toslink and a manufacturer well-versed in HDMI and HDCP devices. End result: the DSD and PCM at the Coax/Toslink outputs are fully HDCP copy-protected, adhere to the DTCP standards and are not in violation of the SACD and Blu-ray Audio regulations. An indication of industry acceptance: SACD label Channel Classics has welcomed the D.BOB to the…
Sidebar 2: Specifications
Description: Digital breakout box for extracting stereo PCM and DSD audio from HDMI sources. Digital outputs: 2 S/PDIF (1 TosLink, 1 RCA), 1 HDMI. Digital inputs: HDMI, miniUSB (for firmware updates). Supported sample rates: up to 192kHz PCM with bit depths 16–24, DSD64. HDMI compliance: HDMI 1.4b. HDCP compliance: HDCP 1.4. Video resolution: Up to 4K60Hz YCbCr 4:2:0. Video bandwidth: 10.2Gbps. Power consumption: 0.84W. Supplied accessories: 12V/1A DC power supply, international power cable adapters, 120–240V AC 50–60Hz AC cord, user manual.
Dimensions: 8.5…
Sidebar 3: Associated Equipment
Digital sources: Oppo Digital UDP-105 universal disc player, Baetis Prodigy-X PC-based music server running JRiver Media Center v25 and Roon, Mytek Brooklyn D/A processor. QNAP TVS-873 NAS.
Preamplifiers: Audio Research MP1, Parasound P7.
Power amplifiers: Benchmark AHB2, Hegel C-53, Classé Sigma Mono.
Loudspeakers: Revel Ultima2 Studio.
Cables: Digital cables: AudioQuest Coffee (USB). Analog interconnects: AudioQuest Earth/DBS balanced, Kubala-Sosna Anticipation (RCA). Speaker cables: Benchmark Studio&Stage (NL2 to banana), Canare…
Sidebar 4: Measurements
The first test I performed of the GeerFab D.BOB was to examine if its output was bit-perfect—ie, if the bits it outputs via S/PDIF are the same as those sent to it via HDMI. Using my Audio Precision SYS2722, I created a 24-bit S/PDIF signal representing a 1kHz tone at –120dBFS, with triangular dither applied at the LSB level. Fig.1 shows the spectrum of this signal, analyzed in the digital domain (no conversion to analog) by looping the Audio Precision's S/PDIF output to its S/PDIF input. The FFT bins lie at the –180dBFS level, and the noise floor is the spectrum…