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Because my two reference DACs, dCS's Rossini DAC/Clock combo and EMM Labs' DV2 integrated DAC, have very different sonic presentations that evoke different emotional responses, I used both in this review. For the Rossini, I chose Map 1, 2V output, and the recommended filters for each resolution; for the DV2, output was set to high. Both DACs' volume controls were turned all the way up to get them out of the way. A Nordost Valhalla 2 USB cable carried signal from the Roon Nucleus+ to the DACs; from there, I went balanced Odin 2 to the N11, then balanced out to my D'Agostino Progression…
Sidebar 1: MBL Chief Engineer Jürgen Reis
Jürgen Reis, 59, whom John Atkinson respectfully describes as "an engineer's engineer," joined MBL in 1982, when the company was three years old. After improving the original MBL preamp, he designed MBL's first three-way speaker system, the MBL 101, in 1986.
As Reis's work continued, he found time to sing baritone/bass in the award-winning Hanover Choir, play guitar in a rock band, and serve as a recording engineer. With time for only one serious recording project per year, he currently records the superb ensemble Concerto Köln for…
Sidebar 2: Specifications
Description: Solid-state, stereo line preamplifier with "MBL Unity Gain," remote control, and MBL SmartLink connectivity. Inputs: 5 pairs single-ended (RCA), 2 pairs balanced (XLR), and option for either phono MC (RCA) or 3rd pair balanced (XLR). Outputs: 5 pairs variable outputs in two groups—(Group 1) 2 single-ended (RCA) + 1 balanced (XLR), (Group 2) 1 single-ended (RCA) + 1 balanced (XLR)—and 2 pairs fixed outputs, 1 single-ended (RCA) and 1 balanced (XLR). Input impedance: 2.3k ohms (CD-In), 10k ohms (XLR-In), 50k ohms (Aux-In), 100 ohms (optional MC-In/…
Sidebar 3: Associated Equipment
Digital sources: dCS Rossini SACD/CD transport & Rossini DAC & Rossini Clock; EMM Labs DV2 DAC; Roon Nucleus+ music server with linear power supply; Linksys routers (2), Small Green Computer Sonore opticalModules (2), TP-Link gigabit Ethernet media converters plus multi-mode duplex fiber optic cable (2); Small Green Computer/ HDPlex four-component 200W linear power supply (3); external hard drives, SSD USB sticks, iPad Pro.
Power amplifiers: Dan D'Agostino Master Systems Progression monoblocks.
Loudspeakers: Wilson Audio Specialties Alexia…
Sidebar 4: Measurements
I measured the MBL Noble Line N11's performance with my Audio Precision SYS2722 system (see the January 2008 "As We See It"), repeating some of the tests with a loan sample of Audio Precision's more-recent, higher-performance APx555 system. As advised in the manual, using the front-panel menu, I deactivated all the N11's inputs other than one of the balanced inputs and the unbalanced CD1 input for the measurements. I performed all the testing with the N11 set to its recommended Unity Gain mode and its volume control set to its maximum in that mode, "70." I then…
New Orleans, Louisiana — As I write this, my city is locked down. To make sure of it, the National Guard is encamped in Louis Armstrong Park, site of Congo Square, where in former times enslaved Americans gathered to dance and play music, and tourists gathered to watch them. People still gather there when the city is not locked down; they gather at other places, too. No one's gathering now. The atmosphere now is eerily similar to how it was in September and October 2005, when the city was evacuated after Hurricane Katrina. Back then, when people started returning—around Halloween, to a city…
James Booker is his own stream in New Orleans piano and the other main influence on contemporary players, after Professor Longhair. Henry Butler, Harry Connick Jr., Josh Paxton, and Jon Cleary are some of the pianists whose styles Booker influenced.
Rather than continue the New Orleans piano tradition, Booker leapt forward and sideways, combining classical, jazz, blues, and R&B forms into a completely original music that earned him the nickname "The Bronze Liberace." His audacious virtuosity was difficult to capture in the studio, but 1982's Classified: Remixed and Expanded…
There are some standing jokes in the audio industry about the qualities a piece of equipment must have in order to be truly "high-end." One definition is that it must be unavailable, unreliable, and dangerous. Another is that it will sound great, break, and its manufacturer go out of business. By meeting at least half of these variables, the Spatial Coherence TVA-1 preamplifier qualifies as a classic audiophile product.
Manufactured and marketed by Spatial, Inc. for three years (the last reference I was able to find was the 1981 Audio magazine annual equipment guide), its claim to fame…
Sidebar 1: Associated Equipment
Turntable: VPI HW-19 Mk.II fitted with the Well-Tempered Arm and Ortofon X-5MC cartridge; CD player: Musical Concepts modified Magnavox 1040; Power amplifiers: Belles Model One, plus a 180Wpc amp of my own construction; Speakers: Legacy-1; Interconnects: Mogami Neglex; Speaker cable: LiveWire BC-4. The Spatial Coherence was auditioned alone and in a side-by-side comparison with a Harman/Kardon Citation 21.
Source material used: LPs: The Scott Hamilton Quintet in Concert (Concord Jazz CJ-233); The King James Version, Harry James and his Big Band (…
Sidebar 2: Specifications
Description: Full-function solid-state preamplifier with two phono inputs, three line-level inputs, two tape loops with selectable two-way dubbing. Original published specifications: Frequency response: 10Hz–40kHz +0, –0.5dB. Max output: 10V. THD: 0.05%. IMD: 0.05%. Phono S/N ratio: 80dB. Measured performance (footnote 1): RIAA accuracy: R channel, –0.25dB at 20Hz, –0.75dB at 20kHz (net: ±1dB); L channel, –0.25dB at 20Hz, –0.25dB at 20kHz (net: ±0.5dB). Line level frequency response: R channel, 20Hz–30kHz, +0dB, –0.1dB; L channel, 20Hz–30kHz, +0.5dB, –0.1dB.…