Digital sources: Roon Nucleus+ file server; Ayre Acoustics C-5xeMP universal player; Chord DAVE, PS Audio PerfectWave DirectStream, Mark Levinson No.30.6 D/A processors.
Preamplifier: NHT PVC balanced volume control (with Mark Levinson).
Power amplifiers: Lamm Industries M1.2 Reference monoblocks.
Integrated amplifier: NAD M10.
Loudspeakers: Magico M2, KEF LS50, Vimberg Mino.
Cables: Digital: AudioQuest Vodka (Ethernet), Belkin Gold (USB), Chord (dual-BNC connection to DAVE), Esperanto Blue (S/PDIF to PS Audio), AudioQuest OptiLink (…
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
It was difficult to decide which tests would be best at uncovering what the Chord Hugo M Scaler was doing. If I examined, with my Audio Precision SYS2722 system (see the January 2008 "As We See It"), the analog output of Chord's DAVE or another D/A processor when fed upsampled data from the M Scaler, the result would be obscured by the anti-aliasing filter of the AP's A/D converter. I could examine the digital output of the M Scaler, but the analyzer's S/PDIF input is restricted to sample rates of 192kHz and below. Despite these cautions, I feel the following…
The components I needed to choose for my first system were never in doubt: a turntable or record changer, an integrated amplifier, and a speaker. One of each, please, in those mono days.
Today, even in stereo, that trinity would be regarded as rather traditional—or, if you prefer, purist. Digital has exploded the range of source options and loudspeaker options. Yet amplifiers have not changed much in how and what they do. They take an analog voltage signal from the source, increase it, and back it up with enough current so that the output can power a relatively insensitive device, the…
Listening to the A 21+ was eminently delightful and satisfying from the first note. I began by listening to a number of new piano recordings: Because the instrument has such a wide tonal range, and although it radiates sound directly from the strings and soundboard as well as from its entire body, it must be presented to the listener, live or via recording, as a unitary voice. I began with Francesco Piemontesi's marvelous "Orage" (Storm) from Book 1 ("Suisse") of Franz Liszt's Années de Pèlerinage (Orfeo ORF-C944182I, CD). From the top notes with their direct ping to the bottom tones that…
Sidebar 1: Specifications
Description: Solid-state, class-AB stereo power amplifier. Inputs: 1 pair single-ended (RCA), 1 pair balanced (XLR). Outputs: 1 pair single-ended (RCA) loop for multiamping; 1 pair five-way binding posts. Power output: 300Wpc into 8 ohms (24.8dBW), 500Wpc into 4 ohms (24dBW), 1000Wpc into 8 ohms (bridged) (30dBW). Frequency response: 20Hz–20kHz, +0/–0.25dB; 5Hz–100kHz, +0/–3dB. Voltage gain: 29dB, 8 ohms (unbalanced input). Input sensitivity: 1V per leg balanced, 1V unbalanced. Damping factor: >l1100 @ 20Hz. THD: <0.1% @ full output. IM distortion:…
Sidebar 2: Associated Equipment
Digital sources: Oppo Digital UDP-105 universal disc player, Baetis Audio Prodigy-X PC-based music server running JRiver Media Center v25 and Roon, exaSound e38 Mark II D/A processor. QNAP TVS-873 NAS.
Preamplifiers: Audio Research MP1, Parasound P7.
Power amplifiers: Benchmark AHB2, Hegel C53, Classé Sigma Mono, Parasound Halo A 31.
Loudspeakers: Revel Ultima Studio2, Revel Performa3 F206, Vivid Kaya 45.
Cables: Digital: AudioQuest Coffee (USB). Interconnect: AudioQuest Earth/DBS balanced, Kubala-Sosna Anticipation (RCA). Speaker: Benchmark…
Sidebar 3: Measurements
I tested the Parasound Halo A 21+ with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). I preconditioned the amplifier by operating it 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.) At the end of this time, the side-mounted heatsinks were very hot, at 162.8°F (72.7°C). The top panel was also hot, at 116°F (46.7.1°C).
The Parasound's voltage gain into 8 ohms measured 29.2dB from the balanced inputs, 29.4dB from the…
On Friday, February 28, 3–7pm, Audio Advisors, at 2271A Palm Beach Lakes Blvd., West Palm Beach, Florida, will present the new Wilson Audio Chronosonic XVX loudspeaker. Wilson's Peter McGrath will be there. Space is limited so please R.S.V.P. to Rudi, either by email rkothe@audioadvisors.com or phone, at (561) 478-3100.
The Sonus Faber Olympica Nova 1 ($6500/pair) is the company's latest stand-mounted, two-way monitor—a lineage that began with their first speaker, the Minima, which I reviewed some 24 years ago. Like the products that followed, the Minima featured a 1" silk-dome tweeter and a 4" reflex-loaded paper-based midbass driver, both attached to a leather-covered baffle and housed in a beautiful wood cabinet, hand-crafted in Italy. I enjoyed the Minima's sound, as did this magazine's Sam Tellig, who praised its "sweet, forgiving, slightly rolled-off on top, and somewhat ripe . . . mid-to-upper bass,"…
The speakers and stands were placed in the locations I had used for the KEFs when I reviewed the SVS SB-3000 subwoofer for the September 2019 issue. This put the Olympica Nova 1s' woofer centers 68" from my listening position and 60" apart. They were 60" from the front wall and 45" from the sidewalls, and toed in toward my listening room chair. However, this configuration left a weakened central image and resulted in a frequency response that rolled off above 2 kHz. Moving the speakers closer together so that they were 50" apart gave the flattest measured treble response and strengthened the…