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The Elgar Plus improves on the Elgar's performance and operation by adding DSD decoding via FireWire or SDIF-2 interfaces and by allowing it to slave to a word clock or act as a master clock. It also adds a digital output and an improved and extended menu system. Because the Plus, like the original Elgar, can decode 24/96 and 24/192 data, you can connect a DVD-V player's 24/96 bitstream (if available—many DVD players downconvert to 24/48) and decode DAD discs. Like all dCS DACs, the Elgar Plus uses the company's proprietary Ring DACs for digital conversion. A dCS spokesperson impressed on me…
I became a dCS believer when I played the JVC XRCD2 of Beethoven's Symphony 3, with Charles Munch and the Boston Symphony (JMCXR-0019), recorded and produced in December 1957 by the legendary team of Layton and Mohr. I've played my original-pressing RCA Living Stereo "shaded dog" LP (LSC-2233) dozens of times over the past few years, enjoying one of the most dramatic symphonic spreads ever recorded at Boston's Symphony Hall. The miking on this three-track recording is unusually close for a Living Stereo, yielding superb imaging and instrumental delineation and focus. Lateral spread and front…
I ended up leaving the upsampling set for DSD for all of my CD listening. The filter options include four for 44.1-96kHz and six for 176.4 and 192kHz, plus four for DSD mode (these are simply for reducing out-of-band noise). It would take pages to explain and describe their sound, so I'll spare you. If you like to play, dCS provides the digital sandbox.
SACD playback
You'd expect that a system that delivers CDs as well as the dCS did might do likewise with SACDs. You'd be right. Good as the best CD sound was from the system, it couldn't touch the effortlessness, delicacy, and…
Sidebar 1: Specifications
dCS Verdi: Drawer-loading, dual-laser SACD/CD transport with DSD stream output via IEEE1394 FireWire interface. Digital outputs: three AEC/EBU XLR; one each BNC, RCA, TosLink optical, ST optical (optional); two each IEEE1394 digital (200Mbit dCS-encrypted DSD), SDIF-2. Word clock In/Out, SUC multipin connector for PC software upgrades. Includes remote control, BNC cable, and IEEE1394 cable.
Dimensions: 18.15" W by 5.39" H by 16.34" D. Weight: 37.4 lbs.
Serial number of unit reviewed: V093054.
Price: $10,995.
dCS Purcell: Digital/digital converter…
Sidebar 2: Associated Equipment
Analog sources: SME 30/2 turntable; Graham 2.2 tonearm; Lyra Helikon SL, Helikon Mono, Lyra Titan, Audio Tekne MC-6310 cartridges.
Digital sources: Musical Fidelity Nu-Vista 3D CD player & Tri-Vista SACD player.
Preamplification: Manley Steelhead phono, Hovland HP-100, Musical Fidelity Tri-Vista integrated amplifier used as preamplifier.
Power amplifier: Musical Fidelity Nu-Vista 300, Music Reference RM-200.
Loudspeakers: Audio Physic Avanti III, Aerial Acoustics SW-12 subwoofer.
Cables: Phono: Hovland Music Groove, Graham IC-70.…
Sidebar 3: Measurements
As full sets of measurements of the dCS Elgar Plus playing back CD data and of the upsampling effect of the dCS Purcell were published in their original reviews (July 1997 and February 2001, respectively), I refer readers to the Web reprints of those reviews, available in our online archives. For this review, I looked only at the Elgar's measured behavior fed SACD data from the Verdi transport via dCS's proprietary IEEE1394 link. As recommended in the comprehensive manual, the Verdi was slaved to the Elgar. The test signals used were those on Sony's "provisional"…
The Elgar & Verdi revisited
Before I set up the dCS Verona that I reviewed in March 2005 in my system, I spend some time refamiliarizing myself with the two-channel Verdi–Purcell–Elgar Plus combination, driving the Mark Levinson No.33H monoblocks directly via 10' lengths of Madrigal CZ-Gel balanced interconnect. (The Elgar's remote-controllable volume and selectable maximum output level facilitates this mode of operation.) To play SACDs, the Verdi fed the Elgar via a FireWire link; the Purcell was hooked up to the Verdi's AES/EBU data output and sent the upsampled DSD-formatted data…
This episode of "Fine Tunes" is mainly about the care and feeding of speaker drivers. Before I launch into some of the tweaks—a few fairly wild and wacky—sent in by readers, here are two from my own experience.
First, tighten those drivers—perhaps once a year. You might be surprised at how the retaining screws can vibrate loose; tightening them improves the sound in just about every way imaginable. Second, if you live in a large city with air as thick and full of particulate matter as New York's, use a large, very soft brush to occasionally remove the dust buildup on the drivers. Gently…
We received the following letters in response:
Armor All & Tabasco
Editor: The tweak mentioned in the November 2001 "Fine Tunes," of using Armor All on speaker surrounds, makes a lot of since. In order for the speakers to sound their best the surround has to be soft and supple.
I'd think this tweak would work best in older speakers, where the "rubber" surround has gotten stiff from age, but it well could even help a new speaker to sound better. After all, by the time a consumer buys the speaker system the driver is probably at least six months old, and the actual…
Most Stereophile readers are aware by now of why the full-range electrostatic should, in theory, be the ideal transducer. (If you aren't aware, see the accompanying sidebar.) Acoustat was the first manufacturer to design a full-range electrostatic that was so indestructible it came with a lifetime warranty. (MartinLogan is now offering a three-year warranty on their speakers, and is considering going to a lifetime warranty). But Acoustat was never able to solve another problem that has plagued all flat-panel speakers: treble beaming.
Until recently, all push-pull electrostatic designs…