Description: Solid-state stereo amplifier. Rated output power, 20Hz–20kHz, with no more than 0.5% THD (FTC): 300Wpc minimum continuous into 8 ohms (24.8dBW); 600Wpc minimum continuous into 4 ohms (24.8dBW); 1200Wpc continuous into 2 ohms (24.8dBW). Frequency response: 20Hz–20kHz ±0.05dB. S/N ratio: ᢈdB (ref. 1W). Input impedance: 100k ohms balanced, 50k ohms single-ended. Voltage gain: 26.8dB. Input sensitivity (for 2.8V output): 130mV. Input sensitivity (for full output): 2.25V. Output impedance: <0.05 ohms, 20Hz–20kHz. Damping factor: !w800, 20Hz–…
search
Sidebar 2: System Context
The preamplifier was the remote-controlled Mark Levinson No.38S, with either a Mod Squad Phono Drive EPS or an Audio Alchemy VAC-in-the-Box used to amplify LP signals from a Linn Sondek/Cirkus/Trampolin/Lingo/Ekos/Arkiv setup on an ArchiDee table. Digital sources were MLevinson No.30.5 HDCD and Parts Connection Assemblage D/A processors driven by Mark Levinson No.31 and No.31.5 transports via Madrigal and Illuminati AES/EBU cables and Meridian 518 or Genesis Digital Lens jitter-reduction units (No.31) or Sonic Frontiers UltraJitterbug (Assemblage). I also used…
Sidebar 3: Measurements
All of the No.333's measurements were taken using the balanced inputs. After a one-hour, 1/3-power preconditioning, the heatsinks were too hot to keep my hands on. The wideband S/N Ratio (ref. 1W into 8 ohms) measured a reasonable 62.5dB, this improving to 79.5dB when A-weighted. The channel separation (not shown) was better than 90dB below 5kHz, decreasing above that frequency to a still-good 70dB at 50kHz, due to capacitive coupling between the channels. The amplifier's voltage gain into 8 ohms measured 26.7dB, it didn't invert polarity, and its input impedance…
Ah, yes, headphones again. The market for super–high-end headphones must be small, but manufacturers nevertheless keep introducing new designs. At least two manufacturers—Stax and Sennheiser—seem to have carved out a big chunk of this market for themselves, and are currently slugging it out with their respective takes on the best that electrostatic headphones have to offer. Headphones aren't for everyone, but if you're a fan of private listening (or are one of that small but vociferous audiophile subset—a binaurophile), you need to pay attention to what these two companies are up to. In…
It was also possible to overload the SR-Omegas in the bass, though it was difficult to predict which material would challenge it. Pictures was handled without a hitch. Two bass transients on "Second Hand Copter," from the Clear and Present Danger soundtrack (Milan 73138-35679-2), however, broke up badly at high levels, though the SR-Omegas handled most of the (very deep) bass on this recording with ease. Occasionally, the SR-Omegas showed definite but less overt signs of strain. There were hints of breakup, without things actually pulling apart, where powerful deep-bass passages are…
Sidebar 1: Specifications
Stax SR-Omega: Open-back design. Transducer principle: electrostatic, push-pull. Frequency range: 6Hz–41kHz (no tolerance specified). Sensitivity: 99dB/100V RMS input (1kHz). Maximum SPL: 120dB at 400Hz.
Weight: 1.3lb (580gm, less cable).
Serial number of unit reviewed: 00133.
Price: $3000, headphones only; $4000 with SRM-T1 tube amplifier; $4500 with SRM-T1S balanced-input tube amplifier (1995).
SRM-T1S direct-drive amplifier: Frequency response: DC–44kHz, –1.5dB. Gain: 60dB. THD: 0.02% at 100V RMS output. Maximum output voltage: 300V RMS.…
Sidebar 2: Review System
The Stax headphones were evaluated with their amplifiers driven directly from a Mark Levinson No.35 D/A converter. A Krell KPS-20i CD player was used as a transport, and alternately from its own analog outputs. The digital link, when used, was a Kimber AGDL coax; the analog interconnects were Cardas Hexlink Five Series.—Thomas J. Norton
This is the fifth year Stereophile has named a select few components as "Products of the Year." By doing so, we intend to give recognition to those components that have proved capable of giving musical pleasure beyond the formal review period.
There are six individual categories: Loudspeakers (including subwoofers); Amplification Components (preamplifiers, power amplifiers, etc.); Digital Sources (CD players, transports, processors); Analog Sources (phono cartridges, turntables, tonearms, FM tuners, etc.); Home Theater Components (other than video); and Accessories (everything else).…
Joint Loudspeakers of 1996
Aerial Acoustics 10T ($5500/pair; reviewed by Wes Phillips, Vol.19 No.4, April 1996 Review)
Dunlavy Audio Labs Signature SC-VI ($24,995/pair; reviewed by Steven Stone & John Atkinson, Vol.19 No.8, August 1996 Review)
Finalists (in alphabetical order):
Acarian Systems Alón V ($4950/pair; reviewed by Russell Novak & Robert J. Reina, Vol.19 Nos.7, 8, & 9, July, August, & September 1996)
Audio Artistry Dvorak ($5990/system; reviewed by Shannon Dickson, Vol.19 No.4, April 1996)
Avalon Acoustics Radian HC ($13,995/pair;…
Amplification Component of 1996
Krell Audio Standard monoblock power amplifier ($35,000/pair; reviewed by Wes Phillips, Vol.19 No.10, October 1996 Review)
Finalists (in alphabetical order):
Audible Illusions Modulus 3A preamplifier ($1995; reviewed by Michael Fremer, Vol.19 Nos.2 & 9, February & September 1996 Review)
Audio Research PH-3 phono preamplifier ($1495; reviewed by Michael Fremer, Vol.19 No.9, September 1996)
Ayre V-3 power amplifier ($3450; reviewed by Sam Tellig & Wes Phillips, Vol.19 No.3, August 1996 Review)
Balanced Audio Technology VK-…