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.…
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Sidebar 1: Specifications
Sidebar 2: Associated Equipment
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:…
Sidebar 3: Measurements
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 remember the exact moment I became an audiophile. It was 1954. I was 12 years old. My father's friend, Mitch Rose, wanted to buy a "hi-fi set," which was what they called them in those days. Mitch asked my father to go with him to help pick one out. My father asked if I wanted to go along for the ride.
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…
My late father-in-law used to say that life is like a roll of toilet paper. The closer you get to the end, the quicker it passes. I was reminded of that when I was asked to review Bel Canto's new e1X DAC/Control Preamplifier ($6800). It didn't seem that long ago that I favorably reviewed the Minnesota company's e.One DAC3, but Google told me that it was 15 years ago! "Other than the jitter performance via its USB input, the Bel Canto e.One DAC3 is the best-measuring digital component I have encountered," I wrote in November 2007 (footnote 1), adding that it "offers some impressive audio…
I initially used the e1X DAC for several days of casual listening, to make sure all was working correctly. I then started the critical listening, primarily using recordings that I had made myself. Low frequencies were well-defined with good weight, high frequencies were neither exaggerated nor rolled off, and the midrange sounded natural. It was difficult to ascribe an identifiable tonal character to the Bel Canto. As I kept listening, the thing that struck me was how clear a view into recorded soundstages I was experiencing. Whether it was the subtle acoustic of Robert Silverman's 1992…
Sidebar 1: Specifications
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.…
Sidebar 2: Associated Equipment
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:…
Sidebar 3: Measurements
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…
The earliest direct-drive record player I've discovered is Garrard's Model 201 from 1930. It only played 78s. In their advertising, Garrard claimed the 201 was the world's first "transcription turntable." It employed Garrard's latest in a line of what they called "prestige" motors: an AC-induction "Super Motor." Garrard described the 201's platter as "plush covered" and said it was "popular with HiFi enthusiasts and used by the BBC." The 201 was superseded by the 201A, which rotated at both 78 and 33 1/3 rpm. The venerable Garrard 301 that followed was an idler-drive design.
The next…