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Because the Music-6 is battery-powered, I suspected that it would not have much in the way of output-stage bias current. That this appears to be case is shown by fig.15, which shows the waveform of the distortion riding along with a 1kHz sinewave in the amplifier's output with the feedback at minimum. Although the THD percentage appears moderately low, at 0.13%, note that every time the sinewave crosses the zero line, a large spike overlays the residual waveform. Such classic crossover distortion has been found to be very audible because of the high-order harmonics it introduces. Fortunately…
Sidebar 4: Michael Fremer wrote about the Music-4 in January 2002 (Vol.25 No.1):
My honeymoon with the Manley Steelhead phono section is over. Not that I didn't buy it after my review last month, not that I don't love it, and not that it isn't now my reference—it's just that it isn't perfect, nor does it do everything better than every other phono section I've heard.
For instance, take the quirky Final Labs Music-4 from Japan ($3700), which requires an outboard power supply. Final Labs sent both power options: the AC-5 ($2750), which uses vacuum-tube regulation, and the DC-5 ($…
Sidebar 5: We received a letter commenting on the Final gear's use of dry cells:
Editor: I am appalled that there was no comment in regard to the environmental disaster that will result from using the Final Laboratory products reviewed by Art Dudley in January (p.97)! Ninety-two disposable batteries lasting about six months!?!?!?!?!?!?! And the company recommends against rechargeables for their audio quality? This is deplorable!!!!
I understand people trying to get their music to sound as close to live music as possible, and I know about issues with AC power (there are line…
Manufacturer's Comment on the use of dry cells:
In his April 2003 letter to the editor, Dennis argues that using the Final Laboratory Music-series amplifiers will result in an "environmental disaster" due to Final's endorsement of carbon-zinc (manganese) batteries over rechargeables. While the reader's concern for the environment is certainly commendable, he would seem to be unaware of two things:
1) One of the biggest problems that batteries have posed for the environment has been their mercury content. However, the vast majority of carbon-zinc batteries being manufactured today…
Usually, I review a component after it has impressed me at a show or in a store. Though this approach reduces the possibility of a bad review—I pre-select based on real experience—it does not minimize the possibility of disappointment. This makes me a sort of stand-in for the consumer who would like to take something home for a real shakeout, and only then decide to buy it or send it back.
This case was different. I had no knowledge of Coincident Speaker Technology until Wes Phillips called to ask me to consider reviewing the Super Conquest Series II. Some time back, it seems, he had…
Concomitantly, there was no unnatural highlighting or brightness. Listening to Ry Cooder's Buena Vista Social Club LP (World Circuit/Nonesuch/Classic RTH 79478), the Super Conquest conveyed all the nice details, from the sound of finger on guitar string to the bizzz of the muted trumpet, while voices and piano were appropriately clear. Performers were arrayed around the room behind the Super Conquests, and solidly placed. In the last movement of Salonen's LAPO recording of Mahler's Symphony 4 (Sony Classical SK 48380), the Super Conquests placed Barbara Hendricks' voice a little bit farther…
Sidebar 1: Specifications
Description: Three-way, floorstanding dynamic loudspeaker. Drive-units: 1" titanium-dome tweeter, 5" polypropylene-cone midrange, 10" plastic-cone woofer. Crossover frequencies: 300Hz, 3kHz. Frequency range: 26Hz-35kHz (no limits given). Nominal impedance: 8 ohms (7 ohms minimum). Sensitivity: 92dB/W/1m. Recommended amplification: 7-250W.
Dimensions: 38" H by 10.5" W by 11" D. Weight: 61 lbs. each.
Finish: cherry.
Serial numbers of units reviewed: 5093II, 5094II.
Price: $2295/pair-$2495/pair, depending on finish (1999); no longer available (2004).…
Sidebar 2: Associated Equipment
Analog source: Heybrook TT2 turntable, Rega RB300 tonearm, Koetsu Black/Gold cartridge.
Digital sources: California Audio Labs CL-20 DVD/CD player, Burmester 970/969 CD transport/DAC.
Preamplifiers: Klyne 6L3.3P, Z-Systems RDP-1.
Power amplifiers: Bryston 7B-ST monoblocks, McCormack DNA-1 (before and after Steve McCormack's mods), Sonic Frontiers Power-2.
Subwoofer: Canton AS-22 (self-powered).
Cables: Interconnects: Cardas Cross and Golden Cross, Straight Wire Virtuoso JPS Superconductor Super-2 Balanced. Speaker Cables: Straight Wire…
Sidebar 3: Measurements
Despite its high specified sensitivity of 92dB/W/m, the Super Conquest came in at an estimated 88.5dB(B)/2.83V/m, which is still on the high side of average. Its impedance (fig.1) ranges between 4 and 9 ohms, with only a moderate phase angle, implying it will be a relatively easy load for an amplifier to drive. The broad saddle at 26Hz in the magnitude trace in the bass indicates the tuning of the reflex port, which, all things being equal, implies good low-frequency extension.
Fig.1 Coincident Super Conquest Series II, electrical impedance (solid…
As audio enters its second digital decade, it gives me great pleasure to proclaim a great audio truth: to groove is divine, to error-correct ain't so benign.
To my mind, analog is audio. I'm tired of the digital-processor-of-the-month parade, in which each new contender pretends to massage the same old bits more therapeutically into a gentler and kinder organic whole. What we really need is more bits. Will we ever see a super CD format based on, say, a 96kHz sampling rate? My gut feeling is probably that we will. Sadly, it would come to pass as a marketing ploy to rejuvenate sales once…