Description: Two-way, reflex-loaded, magnetically shielded, stand-mounted loudspeaker. Drive-units: ¾" "Metal Matrix"-dome tweeter, 5¼" "Metal Matrix"-cone woofer. Crossover frequency: 3.3kHz. Crossover slopes: 24dB/octave. Frequency response: 58Hz-20kHz, ±3dB. Sensitivity: 88dB/2.83V/m. Nominal impedance: 8 ohms. Recommended amplification: 10-100W.
Dimensions: 123/4" H by 73/8" W by 101/2" D. Weight: 13.5 lbs (6kg).
Finish: Black ash.
Serial numbers of units reviewed: ME0678-06400/01064.
Price: $198/pair. Approximate number of dealers: 100.
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Sidebar 1: Specifications
Sidebar 2: Associated Equipment
Analog sources: VPI TNT IV turntable, Immedia RPM tonearm, Koetsu Urushi cartridge; Rega Planar 3 turntable, Syrinx PU-3 tonearm, Clearaudio Virtuoso Wood, Aurum Beta S cartridges.
Digital sources: California Audio Labs Icon Mk.II Power Boss, Creek CD53 Mk.II CD players; Pioneer DV-333 DVD-Video player.
Preamplification: Vendetta Research SCP-2D phono stage, Audio Valve Eklipse line stage.
Power amplifier: Audio Research VT100 Mk.II.
Integrated amplifier: Creek 5350SE.
Loudspeakers: NHT SB3, Paradigm Atom, Polk RT25i.
Cables: Interconnect…
Sidebar 3: Measurements
A fundamental choice faces every designer of small speakers: extend the low-frequency performance but accept a low sensitivity, or maximize sensitivity and live with the curtailed bass response? The Primus 150's designer has chosen the latter course; while Bob Reina noted its lightweight bass in his auditioning, the speaker offers above-average sensitivity, at an estimated 89.5dB(B)/2.83V/m. In addition, its impedance is also fairly amplifier-friendly, remaining above 5 ohms for most of the bass, mid, and treble ranges (fig.1). The impedance magnitude does drop to…
This morning, John Atkinson passed along to me an e-mail he received from one of our most attentive correspondents—a reviewer, in fact, for an erstwhile competitor. We know that this particular writer ranks among our closest readers because an issue seldom comes out but that he writes an analysis of it, including, and down to, what he considers our excessive political correctness in choice of pronouns.
Today's missive included his comments concerning our latest CD, Rhapsody (see June 1997, pp.70-81). He hasn't yet heard it, but regards its main work, George Gershwin's Rhapsody in Blue,…
As I said during the 1991 Stereophile writers' conference (Vol.14 No.12): "There's immense satisfaction in finding that next Audible Illusions or Vandersteen or Rotel." My oh my, am I satisfied! But before you start writing checks, hold onto those pens for a few moments. The PSB Alphas are not ProAc, Hales, Quad, or even Vandersteen killers. Goodness, what do you expect for $200?
Let's talk about the price—200 Susan B. Anthonys. That's just about a week's pay at minimum wage in the US. Given the sound from the Alphas at the Winter CES and this very modest price, Bob Deutsch and I found…
Sidebar 1: Specifications
Description: Two-way reflex-loaded minimonitor with 6½" midrange/woofer and ½" ferrofluid-cooled dome tweeter. Crossover point: 3kHz. Nominal impedance: 8 ohms. Sensitvity: 92dB/2.93V/m.
Dimensions: 12½" H by 8¾" W by 9½" D. Weight: 9½ lbs.
Serial numbers of samples tested: 1211690/1.
Price: $199/pair (1992); no longer available (2006). Reviews of subsequent versions of the Alpha can be found here and here. Approximate number of dealers: 60.
Manufacturer: PSB International Inc., 633 Granite Court, Pickering, Ontario L1W 3KI, Canada. Tel: (905) 831-…
Sidebar 2: Measurements
"A small, two-way, ported design," says the Alpha's plot of impedance amplitude and phase (fig.1). The port tuning is revealed by the amplitude saddle at 50Hz, and there is some sort of resonant problem just above 200Hz, hinted at by the glitch in both traces. The drop below 6 ohms between 120Hz and 350Hz implies that mid-fi receivers need not apply for the job of driving this little PSB, though it is actually a very easy load in the midrange and above.
Fig.1 PSB Alpha, electrical impedance (solid) and phase (dashed). (2 ohms/vertical div.)
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Ever since the introduction of high-resolution digital formats, audiophiles have been waiting for the smoke from the format wars to settle. What would the winning software be? DVD-Audio? DVD-Video? SACD? 24 bits at 96kHz or 192kHz? As new formats struggled to establish themselves, upconverting technology became commonplace for the playback of the familiar 16-bit/44.1kHz "Red Book" CD format. What to do? Invest large amounts of cash in a system that played "Red Book" (maybe with upconverting, but if so, by how much?) and one other format, and hope that you've bet right? And what about movies…
The DV-50 includes massively powerful upconversion/digital filtering facilities. A front-panel switch lets the user select between two different filters or combine the two. The first filter, identified as FIR (presumably for Finite Impulse Response) provides a fixed 8x upconversion, yielding rates of 352.8kHz for conventional CDs and 384kHz, 768kHz, or 1536kHz for DVDs, depending on whether the latter was mastered at 48, 96, or 192kHz resolution. This filter is described in the manual as having "a sharp roll-off and firmly defined bass characteristics."
The second filter, called RDOT by…
The differences were not as drastic going from RDOT to RDOT+FIR as from FIR to RDOT, but the increase in perceived resolution should be significant in any topnotch system. After my experiments, I occasionally switched to the lower-rate upconversion settings, but serious listening was always done in RDOT+FIR.
After settling on a preferred upconversion option, it was time to get down to the nitty-gritty of the Esoteric's sonic particulars. Its overall timbral balance was highly transparent and revealing. On the chamber-orchestra version of Rodrigo's Concierto de Aranjuez, with guitarist…