Listening
I've fallen into the habit of running-in new stereo cartridges by starting with side 1 of Georg Solti and the Vienna Philharmonic's groundbreaking recording of…
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According to the Test Record (HFN 001) put out by Hi-Fi News, the main lateral resonance of the Ortofon Rondo Bronze plus Rega RB300 appeared to be between 9 and 11Hz, and its vertical resonance between 10 and 13Hz—nearly ideal on both counts. I wouldn't expect the medium-high-compliance Bronze to work well in arms that are very insubstantial or very massive. Tracking was superb on all test bands and all music.
Sidebar 1: Specifications
Description: Low-output moving-coil cartridge. Cantilever: one-piece tapered aluminum tube. Stylus: Fritz Gyger FG80 diamond. Output: 0.5mV. Compliance: 15cu. Channel separation: >25dB (1kHz), 18dB (15kHz). Channel balance: 1dB. Internal resistance: 6 ohms. Recommended load: 10–200 ohms. Frequency response: 20–20kHz, ±1.5dB. Weight: 10.5gm. Downforce range: 2.0–2.5gm. Recommended downforce: 2.3gm.
Serial Number Of Unit Reviewed: none.
Price: $899. Approximate number of dealers: 7.
Manufacturer: Ortofon A/S, Stavangervej 9, DK-4900 Nakskov, Denmark.…
Sidebar 2: Associated Equipment
Analog Sources: Linn Sondek LP12 (with Linn Basik power supply), Thorens TD 124 Mk.II turntables; Naim Aro, Rega RB300 tonearms; Miyabi 47, Denon DL-103 cartridges.
Digital Source: Sony SCD-777ES SACD/CD player.
Preamplification: Auditorium 23 Standard, K&K Audio step-up transformers; Shindo Masseto preamplifier.
Power Amplifier: Shindo Cortese.
Loudspeakers: Audio Note AN-E/SPe HE.
Cables: Interconnect: Audio Note AN-Vx, Shindo Silver. Speaker: Auditorium 23. AC: JPS Labs The Digital (Sony SCD-777ES).
Accessories: Mana Reference…
A few nights ago, I listened to mezzo-soprano Lorraine Hunt Lieberson's recording of J.S. Bach's great solo cantata, "Ich habe genug" (It is enough), BWV 82 (Nonesuch 79692-2). Hunt Lieberson was one of those rare mezzos, like Janet Baker and Kathleen Ferrier before her, whose voice conveyed an innately spiritual sense of connection with something greater than the individual self. Especially when she sang softly, she was able to imbue her tone with a hallowed reverence that is easier to feel than describe in words. To the extent that anyone can communicate the "tender mercies" and sacred…
BON IVER: For Emma, Forever Ago
Jagjaguwar Jag 115 (CD). 2008. Justin Vernon, prod., eng. AAD? TT: 37:15
Performance ****1/2
Sonics ****
Jagjaguwar Jag 115 (CD). 2008. Justin Vernon, prod., eng. AAD? TT: 37:15
Performance ****1/2
Sonics ****
Everyone loves a record with a story, and this left-field near-masterpiece has a sad one to tell. For reasons he never specifically mentions, and which in the end could be plain old narcissism, Justin Vernon, whose nom de amor is Bon Iver, decided to lock himself away one winter in his dad's cabin in Northern Wisconsin with little more than a guitar, an analog recording rig, and a pack of voracious and unnamed torments. Available since fall…
Some of the old audio names, such as Eico and Pilot, are gone. Others—Fisher, AR, KLH, H.H. Scott, etc.—have been rendered meaningless by corporate mergers and acquisitions. Yet more than 50 years after their founding, McIntosh and Marantz, arguably the two most prestigious names in American high-quality audio electronics, survive. The products they make today are probably closer in spirit to their original classics of half a century ago than at any time since the early 1970s.
While their individual histories, and how each managed to survive more or less intact for all these…
Instead, when I powered up the SM-11S1 right of the box, driving it single-ended from Musical Fidelity's kWP preamp (which costs about three times as much), the Marantz delivered a jolt, particularly in terms of its organizational skills. The SM-11S1 produced startlingly clear, well-defined, appropriately compact, and exceedingly well-focused images across and within a generously wide, deep soundstage. If you like looking at your music, this amp delivered impressive visuals.
That was the first thing I noticed because, surprisingly, the Marantz's attacks and decays seemed faster, cleaner…
Sidebar 1: Specifications
Description: Solid-state, stereo power amplifier, bridgeable for mono operation. Inputs: 1 pair unbalanced (RCA), 1 pair balanced (XLR). Outputs: 2 pairs of speaker binding posts. Rated output power: 110Wpc, both channels driven into 8 ohms (20.4dBW); 220Wpc, both channels driven into 4 ohms (20.4dBW); 420W bridged into 8 ohms (20.1dBW). Frequency range (at 1W, 8 ohms): 5Hz–120kHz. Input impedance (balanced, unbalanced): 22k ohms. Input sensitivity (balanced, unbalanced): 2.0V. Voltage gain: 17dB (gain setting –6dB), 23dB (gain setting 0dB), 29dB (gain setting +…
Sidebar 2: Associated Equipment
Analog Sources: Continuum Audio Labs Caliburn turntable, Cobra tonearm, Castellon stand; Graham Phantom tonearm, Ortofon Windfeld cartridge.
Digital Sources: Musical Fidelity kW SACD/CD player, BPT-modified Alesis Masterlink hard-disk recorder.
Preamplification: Manley Steelhead, Einstein Turntable's Choice, WhestTWO phono preamplifiers; Musical Fidelity kWP, Marantz SC-11S1 preamplifiers.
Power Amplifiers: Musical Fidelity kW monoblocks.
Loudspeakers: Wilson Audio Specialties MAXX 2.
Cables: Interconnect: TARA Labs Zero. Speaker: TARA Labs…
Sidebar 3: Measurements
As I usually do with power amplifiers, I preconditioned the Marantz SM-11S1 Reference by running both channels at one-third the maximum measured power into 8 ohms for one hour. Thermally, this maximally stresses an amplifier with a class-B or -AB output stage. At the end of that period, while the wire grilles set into the top panel were hot, the chassis was barely warm. The Marantz has adequate heatsinking for an amplifier of its rated power. In addition, the measured THD+noise percentage didn't change through the preconditioning, indicating a stable design…