Sidebar 3: Measurements The drop-dead gorgeous Hovland HP-100 preamp offered a maximum line-stage gain of 13.6dB—the silky-feeling switched attenuator operating in accurate 2dB steps down to -58dB, with then a step to a full mute. (There's also a separate Mute button.) The volume control didn't have an exact unity-gain setting; the nearest was the 3 o'clock position, which featured a 0.135dB insertion loss. The 12 o'clock position was equivalent to -14dB referred to the "unity gain" setting.
The Hovland's line stage didn't invert absolute polarity. Its input impedance was a…
This graph was taken into the kind 100k ohms load. Reducing the load to 10k ohms, a typical input impedance for many solid-state power amplifiers (fig.5), increased the second harmonic almost tenfold, to -60dB (0.1%), and added some third harmonic. Dropping the load to the admittedly punishing 600 ohms raised the second harmonic to -44dB (0.6%, not shown). It is probably inadvisable to use the Hovland with those few power amplifiers that have input impedances below 10k ohms.
Fig.5 Hovland HP-100, line-stage spectrum of 50Hz sinewave, DC-1kHz, at 2V into 10k ohms (linear frequency…
Michael Fremer wrote again about the HP-100 in March 2002 (Vol.25 No.3) In my drool-drenched review of the HP-100 in the November 2000 Stereophile, I complained about an almost-inaudible hum in the phono section. After I'd bought my review sample, Hovland made a production change in the moving-coil transformer, so I sent my unit back to be upgraded. You might think they'd have taken the opportunity to fix the hum, but they just changed the transformer and sent my HP-100 back still humming.
After the Home Entertainment 2001 show last May, Hovland's Alex Crespi came back to my…
I have been reading a lot of late. Whether it is due to the reduced appeal of recorded music owing to the ever-decreasing shelves of LPs in our local specialty record store (the owner explains that he still wants to sell LPs; it's the record companies that make it increasingly harder for him to do so with punitive returns policies and deaf ears to back orders), or the fact that it's Spring, I don't know. But the fact remains that I have recently found myself devouring a shelf-full of titles sometimes only vaguely related—horrors!—to high fidelity. Stuart Chase's The Tyranny of Words, for…
If you think that my selection has been biased in favor of the subjectivist viewpoint, and that Heyser must himself have been a crazed "golden ears," neither is the case. If you were an admirer, as I was, of Richard Heyser's loudspeaker reviews in Audio (a full index of them is included in TDS), you will remember that he was one of the few reviewers who attempted a complete technical analysis of the product under test. Read again two of his last reports, on the Quad ELS-63 (the latest version of which is put through its paces by Sam Tellig and myself in this issue) and the Thiel CS3, in the…
The sound has a "where," which already covers three dimensions. It has a "tone," which includes pitch and timbre, themselves independent variables. Its intensity, a "how much?" that varies with time, represents its dynamics. It has a "when" aspect. The listener's instantaneous perception of musical values depends very much on what has gone before. And which of these aspects is the most important when assessing quality will be different for each listener. And is "objectivity" even the right tool to assess worth in an area which uses technology in the service of art? You can't measure the…
"As We See It" in the Stereophile issue dated Summer 1968 (actually published in 1970) noted the idealistic, glowing claims about how four-channel sound could put you right in the concert hail, but urged readers to wait before buying, to see whether quadrisound would indeed bring higher fidelity. We predicted it wouldn't—that whatever the potential of quadrisound (footnote 1), it would not be used to increase fidelity, but rather to play ring-around-the-rosy with music. For that display of cynicism we were roundly scolded by many readers and a few manufacturers, some of whom accused us…
GERSHWIN: Piano Music
Rhapsody in Blue (solo piano version by Gershwin); 3 Preludes; "Sleepless Night"; Impromptu in 2 Keys; Song Transcriptions: "Sweet and Low-Down," "Maybe," "Clap Yo' hands," "So am I," "Looking for a Boy," "Someone to Watch Over Me," "That Certain Feeling"; Second Rhapsody (solo piano version by David Buechner)
David Buechner, piano
Connoisseur Society CD 4191 (CD only). Patricia A. Duciaume, eng.; E. Alan Silver, prod. D?D. TT: 59:26 Having greatly enjoyed David Buechner's playing on two previous Connoisseur Society discs—Stravinsky's three Petrouchka…
THE WHO: Who's Next
MCA/Mobile Fidelity Sound Lab UDCD 754 (gold CD). 1971/1999. The Who, Glyn Johns, prods.; Andy MacPherson, Jon Astley, engs. AAD. TT: 77:57
Performance *****
Sonics ***** THE BEATLES: Yellow Submarine Songtrack
Apple/Capitol CDP 5 21481 2 (CD). 1968/1999. George Martin, prod.; Peter Cobbin, remix eng. AAD. TT: 45:38
Performance *****
Sonics ****
The originals of these recordings document the two most influential rock groups of the 1960s just as they were transforming simple rock'n'roll into an expansive art form that anticipated just…
Imagine two people who have been audiophiles for 20 years. When they first met, Audiophile #1 had just decided that he would do his best to buy a system that he could keep for the indefinite future, without anxiety about upgrades. Let alone get off the "equipment upgrade" merry-go-round, he never wanted to get on it in the first place. Audiophile #1 also decided that having a truly great music system in his home was more important to him than buying a new car every three years. He found a dealer who sold systems based on value rather than on price. He ended up both exhilarated and…
