Analog Source: Linn Sondek LP12 turntable with Linn Lingo power supply, Linn Ekos tonearm, Linn Arkiv MC phono cartridge, Linn Linto or Sutherland PhD phono preamplifier.
Digital sources: Mark Levinson No.31.5 CD transport; Mark Levinson No.30.6, Benchmark DAC 1, Nagra DAC, Lavry DA2002 D/A processors; EMM Labs-modified Philips SACD 1000 transport with EMM Labs DAC6 processor; Technics DVD-A10 DVD-Audio player; Arcam FMJ CD33, CD players.
Preamplification: Mark Levinson No.380S, Halcro dm10.
Power amplifiers: Mark Levinson No.33H monoblocks.
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Sidebar 2: Associated Equipment
Sidebar 3: Measurements
Not having any convenient current-source test gear, I assessed the Halcro dm38's measured performance only via its conventional balanced and unbalanced voltage-mode inputs. I ran it for an hour at 60Wpc into 8 ohms before performing any measurements. The pillars in the centers of the aluminum side moldings were just too hot to touch, implying a temperature around 65 degrees C, while the central boxes were cooler, at an estimated 50 degrees C.
The voltage gain into 8 ohms was to specification at 29.5dB via the unbalanced input, but 6dB lower via the…
John Atkinson returned to the dm38 in January 2007 (Vol.30 No.1):
When I reviewed the 180Wpc, $18,790 Halcro dm38 stereo power amplifier in October 2004, I had found a rather higher level of distortion just before the amplifier reached its clipping point than was specified by the manufacturer. I also concluded that while the solid-state dm38 sounded superb, particularly with respect to its effortless dynamics and its astonishingly clean presentation, the amplifier is balanced toward the cool side of the spectrum, and will work best with speakers and source components that don't themselves…
"Time to write another equipment report," thought the Great Reviewer, aware that the IRS would soon require another small donation to keep the country running on track. Deftly donning his Tom Wolfe vanilla suit, he sat at the antique desk acquired on one of his many all-expenses-paid research trips to Europe, patted the bust of H.L. Mencken that invariably stood by the word processor, ensured that his level of gonzo awareness was up to par, arranged his prejudices and biases in descending order of importance, checked that the requisite check was in the mail, coined a sufficient number of…
If a company merely wants to quote from a review in their advertising, we insist both that the request be made in writing and that we see the ad as it will appear in print well in advance of publication. This is in order to verify that it does not misrepresent the original review findings. I am pleased to say that this policy seems to work very smoothly, with courtesy and cooperation from manufacturers.
• The relationship between reviewers and manufacturers can be complicated. The Abso!ute Sound, for example, has a policy of refusing to allow manufacturers to communicate at all with the…
Some audiophiles tend to get a mite sniffy around those of us who have expensive tastes and limited budgets. I've always been willing to spend the price of a new car on a set of speakers, but I never had the cash or credit. The sonic virtues of hefty, high-powered Krells and wondrous, single-ended tube designs always enchanted me, but when you're raising a family you make do. Through my experiences in a high-end audio establishment I learned the metaphysics of mixing and matching as befits my lowly caste, and I gradually developed sophisticated reference points, so that as the years swept by…
Next we began to experiment with the Baron's most distinctive feature: Tandem State Imaging. Remember what I said about trying to zero in on an amplifier that most nearly accommodated your range of listening tastes? Well, with Tandem State Imaging you don't have to compromise because it's two, three, four, or more amplifiers in one, and you can make choices on the fly—while the music is playing—selecting the operating characteristics and increments of negative feedback that best complement the music, your speakers, and the acoustic environment.
That's because the Baron employs a…
Sidebar 1: JA listens to the Baron
Giving away its professional heritage, the dual-mono Baron has a ground-lift switch for each channel, a guaranteed way of minimizing ground-loop hum. I have no idea why this often essential option is so rare in consumer amplifiers, unless it's a safety/insurance issue. I got the most hum with with one or both channel grounds connected to the system ground, so I lifted them them both for my auditioning.
I spent only a short time listening to my first sample of the Baron, which was dark-sounding as all get-out, especially in triode mode. It turned…
Sidebar 2: JA's Review System
To audition the Baron, I used B&W Silver Signature loudspeakers. Preamplifier was a Mark Levinson No.38S, with a Mod Squad Phono Drive EPS used to amplify LP signals from a Linn Sondek/Cirkus/Trampolin/Lingo/Ekos/Arkiv setup on an ArchiDee table. Digital sources were Mark Levinson No.30.5 HDCD and Parts Connection Assemblage DAC-2 D/A processors driven by a Mark Levinson No.31 transport, a Nagra-D open-reel digital recorder, and a Panasonic SV-3700 DAT recorder via Madrigal and Illuminati AES/EBU cables and Meridian 518 or Genesis Digital Lens jitter-…
Sidebar 3: Specifications
Description: Tubed dual-mono power amplifier with output power meters (switchable between 15W FS and 150W FS), "Tandem State Imaging," 4 ohm and 8 ohm output transformer taps, and four selectable levels of overall negative feedback, from 0dB to 8dB. Tube complement: four 12AX7s (input); twelve 5881s (output). Rated output power: about 60Wpc into 8 ohms (17.8dBW) (full triode operation, zero feedback) to 150Wpc into 8 ohms (21.8dBW) (full pentode operation, 8dB feedback). Frequency response, THD, S/N ratio, sensitivity, and output impedance not specified. Input…