Kalman Rubinson

Sort By: Post Date | Title | Publish Date
Kalman Rubinson  |  Aug 31, 2017  |  7 comments
It's time to fulfill my promise to write about Playback Designs' Sonoma Syrah music server and Sonoma Merlot DAC. It all began when I asked Playback's founder and CEO, engineer Andreas Koch, when he plans to produce a multichannel digital-to-analog converter—a question I've put to so many other manufacturers. He said that he already had a multichannel system on the drawing board, and not just a DAC. Our e-mail exchange culminated in his announcement of the Playback Designs USB-XIII Digital Interface, to be used between a USB source component and as many as three DACs via PLink, Playback's proprietary fiber-optic connection.
Kalman Rubinson  |  Aug 17, 2017  |  43 comments
At the risk of offending nearly every designer and manufacturer of loudspeakers, I think we have not seen anything really new in a long time. Casting a gimlet eye at Stereophile's "Recommended Components" reveals some electrostatic and planar-magnetic models, a few horns, and lots and lots of cones and domes in boxes. Those cones and domes have voice-coils inductively driven by permanent magnets, and overwhelmingly use passive crossovers. Innovation in speakers mostly takes the form of advancements in materials science and, to a much lesser degree, cabinet shape. All helpful, but not revolutionary.
Kalman Rubinson  |  Jun 29, 2017  |  6 comments
It's been going on for a while now: Despite support for multichannel in audio/video receivers and A/V processors priced from as little as $200 to $30,000, there are still very few offerings that cater to the music listener. They may offer stereo-only streaming features through their USB or Ethernet inputs, but these inputs don't see your multichannel files. To handle such files, they would require you to add a music server with HDMI output. However, I know of no turnkey music servers that will output multichannel audio via HDMI.
Kalman Rubinson  |  Jun 01, 2017  |  15 comments
Stereophile seldom reviews A/V receivers. We made an exception for Arcam's FMJ SR250 ($3600) because it's that unusual two-channel device: one that includes room-correction software, in this case Dirac Live. Many of us who listen in multichannel are comfortable with room correction, but a week doesn't pass without my hearing or reading someone say that they bypass room correction when listening to music in stereo. Spock-like, I find that illogical and, from experience, pointless.
Kalman Rubinson  |  Apr 27, 2017  |  14 comments
Several years ago, at a Consumer Electronics Show, Bob Stuart, then with Meridian Audio, took John Atkinson and me into a private room to demonstrate something new. He played individual tracks of mostly familiar recordings, twice each: first, straight from the commercial release, and then again, this time after processing with technology he was still developing. The differences were subtle, but usually we favored the second version. It was all very hush-hush, and despite our requests for technical information, Stuart spoke of his new process only in terms of results—as a way to recover the original sound at the microphone by knowing and compensating for the transfer functions of that mike and the analog-to-digital converter originally used, as well as of the digital-to-analog converter used in playback. The process had no name, and there was no timetable for its commercial launch.
Kalman Rubinson  |  Mar 24, 2017  |  12 comments
When it comes to Focal loudspeakers, I've been a lurker. For decades now, their demonstrations at audio shows have been memorable—a highlight was when, several years ago, I got Focal to play a powerful percussion track through a pair of their Grande Utopias at very high volume on a show's last day. Just to hear and feel how this mammoth system could deliver clarity and impact was awe-inspiring, and it was underscored by seeing folks from all the neighboring rooms quickly entering to enjoy it with me. It has also been a continuing pleasure to relax and listen to music with Stereophile's former Senior Editor, Jonathan Scull through his Focal Utopias, which he purchased in 1998. Alas, the years have turned, speakers have come and gone, and I had not yet had any Focal speakers in my own system. (Bob Deutsch seemed always to get the jump on me!)
Kalman Rubinson  |  Mar 02, 2017  |  11 comments
The power-amp saga continues. For months, I've been plowing through the market, searching for something to drive my three front speakers. (I use a two-channel amp for the surrounds.) It can be a three-channel amp or three monoblocks—it just has to sound great with my speakers, and be light enough that I can lift it by myself when I need to rearrange my system. I'd finally settled on Classé's Sigma Monos for their transparency, and because I can manage their weight, one at a time. At the CEDIA Expo in September 2016, I saw two more candidates worthy of consideration. Review samples of both arrived here almost simultaneously.
Kalman Rubinson  |  Dec 29, 2016  |  13 comments
Bang & Olufsen's revolutionary BeoLab 90 loudspeaker, which I examine in greater depth elsewhere in this issue, has had some profound effects on me, not least of which is that the review pair prevented me from listening in multichannel for nearly two months. Additionally, I and a few friends found that the two BeoLab 90s delivered an absolutely stunning and convincing soundstage. So when the time came to relinquish them, I was anxious. Would my reference 5.1-channel surround system now disappoint when I played two-channel recordings? Would I still find multichannel to be a substantial advance over stereo, or no improvement at all? Would I need to come out of retirement and find a new day job so that I could afford the BeoLabs' price of $84,990/pair?
Kalman Rubinson  |  Dec 20, 2016  |  21 comments
Bang & Olufsen's BeoLab 90 is not a loudspeaker to take on lightly. Though its size—49.33" high by 28.9" wide by 29.4" deep—and weight (302 lbs each) meant a major disruption of my listening room, which is also our living room, my wife assented. Its price of $84,990/pair puts it far beyond anything I might consider buying—and the complexity of the BeoLab 90, which has its own dedicated amplifiers and DACs, makes it impossible for a reviewer—or consumer—to directly compare it with any other loudspeaker. So be it.
Kalman Rubinson  |  Nov 01, 2016  |  5 comments
Last spring, when I was listening to Bowers & Wilkins's 802 D3 Diamond loudspeakers, Classé Audio offered a pair of their new Sigma Mono amps for the review. They claimed a synergy—B&W's D3 series had been developed using Classé amps. I declined, only because using unfamiliar amplifiers would add to my assessment an uncontrolled variable. Now that the B&Ws have settled in—three 802 D3 Diamonds across the front, two 804 D3s at the back—it seemed time to hear what they could do when driven by the Classés.

Pages

X