Another touch I appreciated was the option to install metal spikes or rubber feet—rigid metal for more bass, softer rubber for, presumably, more definition and perhaps a little bit less bass (footnote 2). I started with the metal spikes and felt, first, that I didn't have too much bass—the speakers are placed far from walls—and second, that the definition was just fine. I kept the spikes.
Triangle…
Description: Three-way, four-driver, bass-reflex floorstanding loudspeaker. Drive units: one 1" (25.4mm) horn-loaded anodized magnesium-dome tweeter; one 6.5" (135mm) cellulose pulp-membrane midrange driver; two 6.5" (135mm) wood pulp, flax, and carbon fiber-membrane bass drivers. Crossover frequencies: 185Hz, 3.9kHz. Frequency range: 37Hz–22kHz. Sensitivity: 92dB/2.83V/m. Impedance: 8 ohms nominal, 3 ohms minimum. Power handling: 140W RMS. Recommended amplification: 80–250W.
Dimensions: 42.9" (1090mm) H × 7.8" (200mm) W × 13.6" (345mm) D. Weight: 59lb (26.…
Analog sources: Rega P5 turntable with RB700 tonearm and Audio MusiKraft Denon DL-103 cartridge.
Digital sources: Simaudio Moon 260D CD transport, Cambridge Audio EVO 150 all-in-one player (used as DAC).
Preamplification: Sonic Frontiers SFP-1 Signature phono preamp.
Integrated amplifier: Grandinote Shinai.
Loudspeakers: Focal Aria K2 936.
Cables: Digital: BIS Audio Maestro (RCA S/PDIF). Interconnect: Moon Audio Silver Dragon (RCA). Speaker: Audience Studio One. Power: Shunyata Research Black Mamba CX, LessLoss DFPC.
Accessories:…
I used DRA Labs' MLSSA system, a calibrated DPA 4006 microphone, and an Earthworks microphone preamplifier to measure the Triangle Antal 40th's behavior in the farfield. I used an Earthworks QTC-40 microphone for the nearfield responses. This mike has a ¼"-diameter tip, so it will not obstruct the radiation from the driver diaphragms or port.
The Antal 40th's anechoic sensitivity is specified as a high 92dB/W/m. My B-weighted estimate was 3dB lower, at 89dB(B)/2.83V/m, though this is still higher than average. Triangle specifies the Antal 40th's impedance…
I did, and we went to Emmons Audio in Studio City, California, for what turned out to be one of the formative moments of my life.
When we got there, Dick Emmons, the proprietor, showed us around, asked Mitch some questions about his musical preferences and budget, and then…
Description: Roon Ready streaming D/A processor/ preamplifier. Inputs: coaxial and TosLink optical S/PDIF (supports 16- and 24-bit PCM 44.1–192kHz); 10/100 Ethernet (supports 24-bit PCM up to 192kHz, MQA, and DSD64); USB2 (supports 24-bit PCM to 192kHz, MQA, and DSD64/128 in DoP format); and USB Type A port for use with external FAT32-formatted storage devices. Analog inputs: 2 pairs unbalanced line (RCA); 1 pair unbalanced MM/MC phono (RCA). Analog outputs: 1 pair balanced (XLR); 1 pair unbalanced (RCA); 1 pair unbalanced subwoofer (RCA); ¼" stereo headphone.…
Analog source: Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B cartridge, Channel D Seta L phono preamplifier.
Digital sources: Roon Nucleus+ file server with HDPlex linear power supply; Ayre Acoustics C-5xeMP universal player; MBL N31 CD player/DAC; Ayre Acoustics QA-9 A/D converter.
Power amplifiers: Parasound Halo JC 1+.
Loudspeakers: Audiovector QR 7, Mission 770.
Headphones: Audeze LCD-X
Cables: Digital: AudioQuest Vodka (Ethernet), AudioQuest Coffee (USB), DH Labs (1m, AES3). Interconnect:…
I measured the Bel Canto e1X DAC with my Audio Precision SYS2722 system. Looking first at the digital inputs, the AES3 and coaxial S/PDIF inputs accepted data sampled at all rates up to 192kHz; TosLink was restricted to 96kHz data. Apple's AudioMIDI utility revealed that the e1X accepted 24-bit integer data via USB sampled at all rates from 44.1kHz to 192kHz. (The print manual says 384kHz.) Apple's USB Prober app identified the Bel Canto as "Bel Canto Hi-Res 2" from "Bel Canto" and the USB port operated in the optimal isochronous asynchronous mode.
The Bel…