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There were also some changes as a function of its interactions with associated equipment. The only change of this sort that was unequivocally beneficial was my replacement of a 5m run of Nordost Quattro Fil interconnect between the digital front-end and the CA-S10 with the same length of PS Audio xStream Statement. The Quattro Fil is my preferred interconnect between my Convergent Audio Technology SL-1 Ultimate preamp and Audiopax Model 88 power amps, but with the digital source driving the CA-S10, the xStream Statement gave the sound a more forgiving character, detail still there but not…
Sidebar 1: Specifications
Description: Solid-state integrated amplifier. Power output: 100Wpc into 8 ohms (20dBW), 160Wpc into 4 ohms (19dBW). Conforming speaker impedance: 4–16 ohms. Frequency response: DC–50kHz, 0/–3dB, into 8 ohms. Channel separation: >70dB. Signal/noise: 120dB (measured with a 400Hz–30kHz bandpass filter) Input impedance: 10k ohms. Power consumption: 64W into 4 ohms.
Dimensions: 11 1/16" (281mm) W by 2 3/8" (60mm) H by 11 1/2" (292mm) D. Weight: 8.8 lbs (4kg).
Serial Number Of Unit Reviewed: 00001102.
Price: $2000. Approximate number of dealers: sold…
Sidebar 2: Associated Equipment
Digital Sources: PS Audio Lambda II CD transport; Perpetual Technologies/Modwright P-1A & P-3A digital processors; Onkyo DX-7555 CD player.
Integrated Amplifier: PS Audio GCC-100.
Loudspeakers: Avantgarde Acoustic Uno 3.0, Paradigm Studio/20.
Cables: Digital: Mystic Reference I2S, Illuminati Orchid AES/EBU. Interconnect: Nordost Quattro Fil, PS Audio xStream Statement. Speaker: Nordost Valhalla. AC: PS Audio xStream Power.
Accessories: Monolithic Sound P3 power supply, PS Audio Ultimate Outlet and P500 AC regenerator; Arcici Suspense Rack;…
Sidebar 3: Measurements
Before performing any measurements on an amplifier, I precondition it by running it for 60 minutes at one-third its specified power into 8 ohms—the worst case for an amplifier with a class-B output stage. With a class-D amplifier such as the Flying Mole CA-S10, however, the output stage is so efficient that almost all the power taken from the wall is supplied to the load at all levels, rather than being dissipated in the output devices. At the end of the hour, the CA-S10's case was faintly warm. This is indeed an environmentally friendly amplifier.
The…
With the introduction of the NHB-108 stereo amplifier, Swiss-based darTZeel quickly established a reputation for pristine, hand-built quality, fanciful industrial design, and elegant circuitry—all accompanied by a healthy jolt of sticker shock. (See John Marks' coverage in his September 2003 "Fifth Element" column, followed by Wes Phillips' full review in April 2005 .) The 100Wpc (into 8 ohms) NHB-108 costs more than $18,000. A lot of change for not a lot of power, but the reviews were unanimous in praising the amp's exceptional sound quality.
The boutique company's second…
Switching between Enjoyments—I mean sources—engages a mute circuit that avoids pops and clicks by inserting a half-second delay before the chosen Enjoyment begins providing it. The phono section requires eight seconds to engage when selected, but switching back to a line input takes only half a second. Because the inputs are indicated only by Roman numerals and can't be assigned names, you'll just have to remember what you connected where.
The proprietary volume, or Enjoyment, control uses no contacts, relays, switches, or silicon devices. DarTZeel isn't talking about its exact…
Shortly before I installed the NHB-18NS, an LP reissue of Clark Terry's Color Changes arrived (Candid/Pure Pleasure). Recorded in 1960, when Terry was a member of The Tonight Show's NBC Big Band, the album includes other NBC bandmates, such as drummer Ed Shaughnessy and pianist Tommy Flanagan, as well as veteran bassist Joe Benjamin, trombonist Jimmy Knepper, and French horn player Julius Watkins. The album, perhaps Terry's best, highlights Yusef Lateef's superb wind, horn, and oboe playing in Terry's harmonically charged, color-saturated arrangements. I played it often.
In fact, Color…
Sidebar 1: Specifications
Description: Solid-state preamplifier. Inputs: four unbalanced line-level (switchable between RCA and 50 ohm Zeel BNC), one unbalanced phono (RCA), one balanced (XLR). Outputs: one unbalanced (RCA), one balanced (XLR), one buffered Tape Out (RCA), three 50 ohm darT (BNC). Frequency responses (depend on measurement method): 1Hz–1MHz , +0/–6dB; 10Hz–100kHz, +0/–0.5dB; 20Hz–50kHz, ±0.5dB (XLR inputs & outputs). THD: <1%, 7Hz–77kHz. Signal/Noise Ratio: 100dB (A) line level; >70dB phono. Risetime: <0.8µs. Slew rate: >88V/µs peak–peak. Crosstalk: below…
Sidebar 2: Associated Equipment
Analog Sources: Continuum Audio Labs Caliburn, Kuzma Reference XL, Grand Prix Audio Monaco turntables; Continuum Audio Labs Cobra, Kuzma Airline, Graham Phantom tonearms; Lyra Titan i, Air Tight PC-1, EMT Jubilee JSD 5 cartridges.
Digital Sources: Musical Fidelity kW DM25 DAC & transport, BPT-modified Alesis Masterlink hard-disk recorder.
Preamplification: Musical Fidelity kWP preamplifier, Manley Steelhead phono preamplifier.
Power Amplifiers: Musical Fidelity kW monoblocks, Ayre Acoustics MX-R monoblocks, darTZeel NHB-108.
Loudspeakers:…
Sidebar 3: Measurements
I looked at the DarTZeel NHB-18NS's measured performance using its conventional balanced and unbalanced inputs and outputs rather than the 50 ohm, impedance-matched Zeel inputs and DarT outputs. (See Hervé Delétraz's article on the benefits of impedance matching, written for Stereophile before he went into business as a manufacturer, in our November 2001 issue.) This is because I do not have test gear with the necessary 50 ohm impedances. But the preamp's behavior in this mode can be inferred from the performance of its conventional unbalanced operation.
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