The Sennheiser headphones were selected for two reasons:

First, I have owned them for an extended period of time and am familiar with their (excellent) sound, and

Second, the HD-600s are power-hungry and notoriously difficult to drive, and thus, an appropriate challenge to the Mytek Liberty DAC and Headphone Amplifier. This is particularly true since Mytek claims that the Liberty is specifically designed for difficult-to-drive headphones.

Right away, I’ll say that the Liberty DAC, used as a combination DAC and headphone amplifier, sounds better than the Emotiva Stealth DC-1 DAC’s headphone amplifier section. The Liberty’s real competition is the Emotiva BasX A-100 integrated amplifier. And the Mytek Liberty didn’t flinch at the challenge!

The Liberty was compared directly with two other components, the now-discontinued Emotiva BasX A-100 integrated amplifier and the Emotiva Stealth DC-1 DAC. The DC-1, for these comparisons, was used as a DAC but not a headphone amplifier. The Stealth DC-1’s RCA (unbalanced) outputs were used as connectors to the A-100 amplifier inputs. The remainder of my comments pertain to the Mytek Liberty DAC and Headphone Amplifier component as compared to the combination of the Emotiva Stealth DC-1 DAC feeding the Emotiva BasX A-100 integrated amplifier, with the integrated amp used solely as a headphone amplifier.

My initial impressions are that the Mytek DAC and Headphone Amplifier are very, very good. Although there are slight tonal differences between its sound and that of the Stealth DC-1/A-100 combination, the Liberty doesn’t suffer by comparison at all when trying to run my HD-600 headphones. That is probably the most important single thing I can say about it! Mytek doesn’t mess around with this headphone amp!

I’d also mention that the Mytek’s USB connection sounds great versus the Emotiva DC-1’s BNC connection. This is the only time that I’ve thought that ANY USB connection sounded great! Usually, from a USB connection, I hear some sort of veil or diminished sonic presentation – but not with the Mytek.

I have previously heard the Sabre-DAC (lower treble) glare from every such implementation I’ve tried, including OPPO’s BDP-105, UDP-205 (the worst one), and the Geek Pulse Infinity DAC (although a slightly different coloration than the usual). If the Mytek Liberty has any Sabre-DAC glare, it doesn’t jump out at me. However, there is a slightly-audible cymbal coloration in the treble of Pink’s “Try,” that may or may not be attributable to the Sabre chipset.

In terms of amplitude, I can max-out the Mytek Liberty’s volume into my Sennheiser HD-600 headphones without distortion. The maximum volume won’t deafen you, but it DOES get very loud. Unless you are a total bass-head, I think that the Liberty’s volume capability will more than satisfy. If you want more volume, then you’ll need the Emotiva BasX A-100 integrated amplifier or a similar amp with far more power than the three-watt Mytek.

In terms of ultimate volume capability, the Mytek Liberty and the Emotiva BasX A-100 are surprisingly close (I nearly fainted as I wrote that line – The BasX amp has been my reference since I bought it). Yes, there are still rare times when the BasX sounds louder than the Liberty, and the BasX still has a more powerful sound at extremely high volumes. But the Mytek Liberty is so close that the average listener will never want for more.

What are the audible differences between the BasX amplifier and the Mytek Liberty’s headphone amp? On Adele’s “When We Were Young” (YouTube performance), the bass may be (or may not be) slightly more controlled by the BasX amplifier, and the BasX’s treble is perhaps slightly more accurate. And that’s about it. Right now, listening to the same song through the Mytek Liberty’s headphone amp, the only audible difference is an occasional very slight thinness on some cymbals (and even then, only on some songs) from the Liberty.

On the positive side, the Liberty DAC may be more mellow, and slightly warmer with a minimally more relaxed and open sound than the Emotiva Stealth DC-1. The Liberty DAC may also produce a slightly cleaner left to right coherence. But again, these differences are very small.

The Emotiva DC-1 can occasionally sound slightly more forward than the Mytek Liberty in the upper midrange and treble (the opposite of what I expected). The DC-1 may also be slightly more dynamic in the treble, but when noticeable at all, the difference is very small. Although there IS a barely-audible difference between the two DACs, that difference is so small that it’s hard to say which is better.

In terms of the musical tone of the DACs, the DC-1 may do a few things slightly better than the Liberty. Sometimes when you are wanting that last bit of tonal quality when a singer really belts it out, the DC-1 may produce that edge that I look for – that overload of the listener’s ears. Also, with the DC-1, the voices have a slight gloss that may or may not be a treble artifact. But either way, both DACs sound solid and clear.

The Mytek Liberty may smooth the sound out just a tiny bit more than it should. But in compensation for this, the Liberty does a few things better, including a slightly more open sound and a slightly smoother treble.

So which DAC won? The most honest answer is “Undecided!” Both offer fantastic sound. I REALLY like the Mytek Liberty. The fact that it competes so closely with my previous reference combination of the Emotiva Stealth DC-1 DAC and the Emotiva BasX A-100 integrated amplifier is shocking to me.

My only criticism of the Mytek Liberty DAC is its lack of a remote volume control. Yes, I sit away from the volume control in my living room. No, it’s not too much to ask that I don’t have to get out of my chair to change the volume on every song.

A very minor issue is that in certain cymbal sounds, the Liberty’s sound can be just the slightest bit light in impact and weight. Is this the dreaded Sabre-glare? Who knows. I had to go digging for faults to even find this. But if so, this is probably the slightest Sabre-coloration that I’ve ever heard. It is almost completely inaudible.

The Mytek Liberty would make a great travel DAC to pack in a suitcase but is not quite compact enough to carry in your lap. I haven’t tested the MYTEK Liberty with speakers yet. But when the TRS to XLR adapters (the “Metropolis” wires) arrive, I hope to put the Liberty through its paces with my main stereo.

Garbulky

The post Mytek Liberty Part 2 – By Glenn’s Audio Amigo, “Garbulky” appeared first on HomeTheaterHifi.com.

Many audiophiles seem to gush about the warm, euphonic tube sound, while still others lament the soft, mushy bass output and lack of sparkle in the higher frequencies. I found the sound of the VSi75 to fall somewhere in between both tube and solid-state in its audio presentation and feel that it might actually appeal to both crowds.

I must admit that I am a solid-state kind of guy. I don’t particularly like fussing with my equipment once I set it up and power it ON. I don’t care to wait for things to “warm up” or “settle in”. I want my music and I want it NOW. That said, it is also true that good things come to those that wait and patience is a virtue. Those of you that are used to tube equipment or are perhaps a connoisseur of fine vinyl probably already know this. I have listened to enough tube amps in the past to know that they provide a different listening and setup experience than solid-state devices, so I was prepared for the challenges that can come with tubes (or valves, as they are referred to in Europe). I found setting up the VSi75 to be painless… and delightfully engaging.

• MOON by Simaudio 240i Integrated Amplifier Review
• Vacuum Tube Audio M-125 Mono-Tube Power Amplifier Review
• Vacuum Tube Audio ST-120 Tube Power Amplifier Review

With a solid, brushed aluminum chassis, the VSi75 weighs over 36 pounds and has an almost industrial look to it. It looks like someone made the unit by hand from the ground up and took their sweet time doing it. The internal circuit boards (from what I could see) look like they have widely spaced etchings, with the components being well-spaced with ample room to breathe. The VSi75 upgrades over its predecessor (VSi60) include a matched set of four KT150 power output tubes, two 6H30 driver tubes, some solid-state regulation, and a JFET input stage. The VSi75 is single-ended only, so all five inputs are RCAs with very sturdy posts. It also has a tape output, which is handy should you possess a reel-to-reel rig. The RCA connectors in the back are very solid and substantial so you will never have to worry about them wearing out or coming loose over time.

On the matter of the tubes, most are manufactured either in the USSR or China. I’ll not get into the joys of swapping out tubes (like vinylphiles and phono cartridges), and my comments will stick to the supplied stock tubes from ARC. The KT150s are bigger than their predecessors and provide more output than the KT88s. The internal workings of the VSi75 did not have to be beefed up for these newer, more powerful tubes, because the boards and wiring are already “over-built” enough to handle the extra output. The tubes came in a separately boxed section from the amplifier that provides ample foam protection. Each tube is hand-labeled so you can place them in their proper connector.

I always wear gloves when handling tubes to prevent oily finger smudges, which causes them to heat unevenly, and in case one should break while being inserted. Remember to push straight down and not at an angle. Once the tubes were set, I attached the supplied power cord and fired it up. I know it sounds simple, but the act of putting in the tubes and biasing them makes for a more intimate connection with the VSi75, than a solid-state device. It’s sort of a “Hey, I did that.” experience.

Biasing the tubes will allow you to optimize the output for each one so they output the same volume per channel, and it prolongs their service life. Biased too hot and the life is decreased, too little and the sound quality takes a hit. I found the tubes were already-well matched and only a slight adjustment was needed to bring them even.

The included plastic flat-head driver works well for this task. Why plastic? Do you think it would be a clever idea to fish around in this thing with a metal stick with all that high voltage inside waiting to be released? Also, I recommend biasing after the tubes have had ample time to warm up, say around 20-30 minutes. From the remote, you select each tube to be biased and just watch the display as you make your incremental adjustments. I know some amps out there are self-biasing, but this really was not a difficult chore and it gave me that nostalgic feeling; like tweaking a turntable.

I have read elsewhere that it is recommended to burn the VSi75 in for over 100 hours before you give it a serious listen. I never had the luxury of that time table, but I can make a few comments about the sound over time in general. When I listened for my first three-hour session, I thought the sound was a bit harsh and the bass to be slightly bloomy. The soundstage was also a bit two-dimensional and lacking in depth.

As the days went on, these things resolved, and the top end sparkled, but never sounded overly etched or strident. The bass, which I found surprisingly robust for a tube amp, had plenty of power and gave the music a warm, solid foundation. The word “burnished” came to mind several times during my auditioning. It had authority but with a warm, soft analog edge. I’ll try to describe it in more detail in the listening section later.

For my listening set-up, I used an OPPO UDP-203, Kimber PBJ interconnects, Zu Audio Julian speaker cables, and Revel Concerta2 F36 full range speakers. I did not put a subwoofer into the mix, though that could have been an option. I wanted to judge the VSi75 without the assist of a sub. It never fails to impress me how good a simple two channel set-up can sound. Two components and a set of speakers… Boom!

Most of my critical listening came with the VSi75 having over 20 hours of burn-in on it. I can not comment on the sound quality after more than 100 hours, but I can extrapolate that over time, the sound got better with a more 3D sound-stage and overall, a smoother and mellower sound. I am not a proponent of solid state device burn-in, but I am when it comes to tubes. Be patient, the sound evolution is part of the process.

Human vocals are usually a great test for testing the naturalness of the mid-range. I played some Frank Sinatra, Live at the Sands and got a really good sense of the venue’s space. Besides the extraneous noises of people laughing and glasses clinking, the feeling of being there was almost palpable. Through the smoky room, Sinatra’s voice floated above the din and sounded full and natural. The highs were there, but I did notice a slight roll-off of the tape hiss from the digitally-remastered recording. That was true for most of the older recordings in my collection. The treble detail was still there, just that slight hiss was gone. Not a terrible thing in my book. Another good voice recording was Roxy Music’s Avalon. Brain Ferry’s restrained and seductive sound was mesmerizing and yet so enjoyable. The bass underpinning was also well-supported and had a slightly “fat” quality to it that really enhanced the emotion of the band’s iconic sound. This recording was a surround remaster SACD, but even in stereo it still sounded open and spacious.

Flipping genres, I listened to some of Handel’s Organ Concertos. The orchestra was well spaced out in front of the organ, which was centered on the backwall. The strings had nice bite and a warm sheen. Again, there was a lack of stridency in the upper registers, but not a lack of detail. Though the organ was a small chamber instrument, it had plenty of sparkle and the bass notes were solid. Moving about 150 years forward in time, I compared Handle to Aaron Copland’s Symphony for Organ and Orchestra with E. Power Biggs on the organ at Avery Fisher Hall in NYC. Recorded in 1968, this organ is miked closely and has a very large personality. The music is deliciously jazzy with syncopated rhythms that would challenge any world class orchestra. The bass from the organ is quite present as are the large brass instruments and tympani. It was here that I thought the VSi75 would run out of propane, but it played this music loudly and without any hint of being pushed too hard. Again, I was aware that the 40-year-old tape hiss was being attenuated and softened, but I never felt that the treble details suffered. I would never have thought of organ music in general being played with a tube amp before, but the VSi75 could really reproduce a 32-foot pedal with authority!

The VSi75 laid it down with power. I expected the bass to sag a bit, but that didn’t happen. Roger Daltrey’s husky tenor sounded full and lush. Boy, he could really belt out the vocals back then. Today, of course, he’s deaf as door knob… but who today can capture the raw emotion of his voice? Certainly no one from American Idol.

Overall, the VSi75 has the finesse to play any type of music genre, with perhaps an edge in reproducing vocals and acoustical instruments. It is refined enough for classical music, yet can punch out rock-n-roll, too.

Because of the solid-state and tube marriage, the VSi75 has some sound characteristics of both and can easily win the ears from both sides of the aisle. I have found in general, that bass can be a bit weak and flabby with tubes. That is not the case with the VSi75. Though the bass was a slightly rounded on the bottom octave, it had plenty of slam and muscle, even when playing my favorite pipe organ music. The warmth of tubes is partially due to the removal of treble harshness, which most people will enjoy. This thing is built like a tank and the quality can be seen on the outside and heard on the inside, where it counts. The VSi75 is easy to set-up and operate, so no one should feel intimidated by the glowing glass tubes on top. The built-in features keep track of the tube life, assist in biasing, and the power-up process ensures you don’t accidentally damage anything with an unintentional volume power surge. The solid remote should last as long as the unit. Though it’s not backlit, I usually only find that a minus in home theaters. The Audio Research VSi75 is an investment piece; whether you are moving up to your first tube amp or are thinking about setting up a primo stereo system from the ground up. The Audio Research VSi75 integrated amplifier is a sound choice that will pay musical dividends for many years to come.

The post Audio Research VSi75 Integrated Amplifier Review appeared first on HomeTheaterHifi.com.

With a beautifully designed chassis of aluminum and glass, the Meridian 857 makes a bold statement; beauty and muscle can co-exist.

England-based Meridian has been a cutting-edge consumer audio company since its inception back in 1977. My first experience with the Meridian brand was in a Boston high-end audio shop listening to their M1 DSP speakers with internal amplification back in my college days. The concept of keeping the signal digital all the way to the speaker was a revolutionary and novel idea back then.

The Meridian 857 is designed and built to deliver the best possible hi-res audio performance from any high-quality passive loudspeaker system. Boasting a 1-100kHz frequency response, the Meridian 857 is designed to bring out the best from your high-resolution music files. Low-feedback construction keeps distortion to a minimum while providing music that is solid, yet transparent. The Meridian 857 amplifier is designed to provide 250 watts into 2 channels at 8 Ohms, 500 watts into 4 ohms, and is bridgeable to provide 1.5 kilowatts into a single channel at 4 Ohms.

You would think all that juice would generate a ton of heat, but the Meridian 857 has cooling fans that automatically kick in when needed. The unit can be rack mounted with little fear of overheating. In my few weeks of auditioning this amp, I never once heard the fans kick in. The top of the amplifier was warm, but never became hot to the touch, even after hours of extended use. An open-loop configuration contributes to its overall sound quality. The design is intrinsically linear and uses error correction in the output stage to provide low output impedance. This gives the Meridian 857 excellent measured performance and a high damping factor while only applying small amounts of negative feedback.

With the use of shunt feedback to eliminate common mode distortion, Meridian’s own proprietary ‘Superbal’ circuitry brings this design to the balanced input, with the ability to convert unbalanced signals to balanced as they enter the amplifier. Since my Emotiva UMC-200 preamp does not provide balanced outputs for the main right and left speaker, I am still able to obtain the benefit of keeping the signal balanced. Unfortunately, I could not perform an A/B comparison to hear any potential difference, but my music sounded great all the same in this configuration.

The Meridian 857 was shipped to my location from a dealer in the Atlanta area. It was double-boxed with a custom foam insert that provided plenty of protection from the battlefield of ground shipping. The first thing I noticed was the overall weight of the box and how thoughtful that it had side handles to help me maneuver it into the living room. At over 70 pounds, I almost threw out my back getting it in place in the second-floor media room. The 857 is not the heaviest amp I’ve used, but it is one of the most elegant.

Mine came in black, but Meridian offers custom colors if you are interested. The top and front faceplates are made of dark glass while the rest of the chassis is aluminum with a slightly curved front edge. A cleaning cloth is provided so once you set it in place, you can wipe away your smudgy fingerprints and clean the dust from the glass top when needed. In the center of the front panel resides the power button, which has a built-in soft touch feature. Around it is a light that turns blue when in stand-by, green during normal operation, orange when the cooling fans kick in, and red for overload.

During my time with the 857 I saw only the green and blue lights as I could never drive it hard enough for the fans to kick in, and I never attempted to do something as foolish as to make it go into protection mode. I really does look nice next to my other audio equipment and I had several friends walk over and admire it. It doesn’t call attention to itself, but it is easy on the eyes… and ears. It operates in total silence and whether turning on or off, it never made a sound nor made my speakers click or thump.

On the back side, the “business end” of the 857 as it were, there are a pair of balanced and unbalanced inputs. The main power switch is nicely located dead-center at the top for easy access. Each input has a selector switch, a bridge mode selector, and a 5-30V input trigger that will wake the 857 up when it receives a signal from a preamp.

Speaker output terminals are of a very high quality, five-way binding posts that accept straight bare wire, banana, or spade connectors. The entire backplate is attached to the main chassis and has a look and feel of solidity and quality. Even the selector knobs are solid aluminum. A short, thick cable is provided should you want to bridge the outputs, and it too is well made.

The included power cord is detachable should you wish to swap it out for an upgrade. Completing the unit is a hard cover instruction booklet and a five-year warranty. Overall, I was impressed with the fit and finish of the Meridian 857 and was surprised that an amplifier could look so stunning in glass and aluminum. Meridian took the time to build a product that reflects pride on the inside and out. After all, I have seen plenty of “functional” (a euphemism for “ugly”) audio gear over the years.

Setting up the 857 took about 10 minutes. The binding posts were spaced well apart and popping my bananas in was easy. Powering up via the touch pad on the front was effortless, as there is no pushing involved and it operates in total silence.

I ran some music through it for a day or two without doing any critical listening so the 857 could warm up and stretch its legs a bit. Once that was done, it was time to get down to business. My speakers were Revel F36s, and I listened to all my music without the aid of my Velodyne and Earthquake subs. Interconnects were Kimber Cable PBJs and the speaker cables were the 8’ length Julians from Zu Audio.

I followed the advice from Meridian to give the 857 some time to warm up and break-in before doing any real critical listening. Though I did not hear a dramatic difference from the moment I fired it up compared to the last few days I had it in my system, I usually follow this advice with any amplifier. One of the first things I noticed was the authority and solid bass that the F36s were putting out. I attribute some of this to fact that I usually cross them over to a subwoofer at 80 Hz, and normally do not hear their full potential with movies and music. I find that relegating the bass heavy-lifting to the subs relieves the amplifier from stress and generally improves power output to the Revels. Also, since my room dimensions are a bit tight, I get a smother bass response with my corner placed subs. That being said, the F36s sounded punchy, tight, and well controlled. Details in the both the midrange and treble were intact and sounded quite smooth. Turning the volume down to almost a whisper still provided the details that were in the music, whether the shimmer of strings or the tintinnabulation of a triangle playing over a brass ensemble. I was hoping to see the color ring around the power button change when the cooling fans kicked in, but that never happened, even after extended listening at high volumes. The 857 became warm to the touch, but never uncomfortably hot. The top air vents never exhausted super-heated air during play time either. My guess is that you would have to really push the 857 hard to get those six internal fans to get to work, and your ears would beg for mercy long before that happened. I would not hesitate to install the Meridian 857 in a cabinet or rack and as long as you give it a few inches of space on top to breathe; it should provide worry free operation for a long time.

Talk about a tough audience! (He truly was ahead of his time. ed.) I was listening for the individual players of the European Brandenburg Ensemble to hear if they sounded like a group of people playing as a single unit, or if they sound jumbled together and indistinguishable from the complex rhythm of the work. The strings sounded natural, with a sweet shimmering tone. Basso continuo was present and not over-emphasized. The ensemble had a nice openness to its sound, as though up on stage and close-miked. Conducting from the harpsichord, Pinnock played this music from years of experience and you could feel his zest and enjoyment through the energetic and sprightly sound. Impression: the Meridian 857 can play complex music with fine detail and openness without adding to or subtracting from the recording.

Vocals sounded smooth and natural with the Meridian 857 and the higher the volume, the more the music seemed to open up and unfold. Bass was punchy, especially the synth, and it never overpowered Lake’s voice in From The Beginning. Hoedown, from Aaron Copland’s ballet Rodeo, was a revelation as the old compressed recording made this sound screechy and mashed together. Now it had space for musical lines to intertwine and really get your toes tapping. Emerson could play that Moog like no other rocker before or since and you could actually believe that Copland wrote this piece for synthesizer. Impression: the 857 can rock and roll with solid bass, natural voices, acoustic, and electric sounds that approach concert levels with authority and clarity. All this, and I still couldn’t get the cooling fans to kick in!

Besides accurately reproducing Knopfler’s gravelly voice, his intricate guitar work is beautifully presented by the 857. The thumping synth bass on Iron Hand has a nice “punch to the gut” feel, and even though it can sound like a deep drum beat, the 857 gave its true identity up as a synthesizer. If your amp and/or speakers are not up to the challenge, this bass can be mushy and lack focused intensity. In general, I found the 857 played loud, bass-heavy music without complaint, while keeping the rest of the music in a natural perspective. Did I miss my Velodyne? Not at all.

The mixes also can be with the listener in the front row of the audience or on stage with the performers. The up-close miking of plucked strings is very enjoyable to hear and this album has found its way to my ears often. It also includes video, so you can sit back, listen, and watch the show. The 857 presented the guitar in all its natural and expressive glory. Even bass notes had a weight and solidity that made it feel “live”. You could occasionally hear the scraping of a finger along the fret and subtle drumming of the thumb on the board. Impression: the Meridian 857 captures the beauty of the musical details and presents the music with a solid, wide soundstage.

I played a lot of music during my time with the Meridian 857, because I found it to be dead quiet between tracks and explosively dynamic yet neutral when playing music. One of the joys of reviewing audio equipment is the ability to hear your music in a fresh new light and comparing your own gear against Brand X in the comfort of your own music room. I feel the Meridian 857 stands out with its nice visual design, cool operation, and seemingly infinite power reserves. I may not need this kind of amplification, but I sure could desire it.

THE MERIDIAN REFERENCE TWO CHANNEL POWER AMPLIFIER 857 is a substantial investment that demonstrates that good looks and exceptional performance can go hand in hand.

The Meridian 857 is certainly one of the nicest looking amplifiers I have seen, but its power reserves make it both Beauty and the Beast. Kudos to the Meridian team for designing an amplifier that makes us want to reacquaint ourselves with our music. Meridian has created an amplifier that demonstrates their finest ideals for an audio product. It is certainly one of the nicest looking amplifiers I have auditioned, as most other amps look like plain metal boxes compared to the rest of our components. The real trick was to add clean, unadulterated muscle that can turn the 857 into an astonishingly powerful mono-block. If this is their statement, I heard it loud and clear!

The post Meridian Reference Two Channel Power Amplifier 857 Review appeared first on HomeTheaterHifi.com.

I thought it was a beautiful piece of industrial design. Then, after glowing reviews industry experts, I was even more intrigued. Then, after visiting local hi-fi dealers for a quick listen, I fell in love. In person, it was just as beautiful as it was online and to top it off, the silver variant was actually available in Canada (which is almost never the case and that all but sealed the deal to me.

Just before the new year, my wife and I had begun a bit of a renovation to our living room. We were adding a gas fireplace which would be housed inside a custom wall unit with shelving. We had planned to in-set a tv just above the fireplace and I, of course, was looking for an excuse to purchase an integrated amplifier to compliment the build.

My thought was that the CXA60 Integrated Amplifier would be a perfect fit as it would match the clean modern look of the built-in wall unit and provide the space with great sound. My NAD 326bee is still kicking about and I love it to bits, but it isn’t going to win any beauty contests and found it somewhat limited in today’s digital age. I was looking for an integrated that could do more in the box while having some serious shelf appeal. My wife was adamant that I wait until the new year before making a purchase and I grudgingly agreed. She had something up her sleeve.

As luck would have it, my birthday falls just a few days after Christmas and as such, I usually get pretty spoiled with either a bunch of great small gifts or one big gift. This year, however, was quite a surprise and when I saw the large amp-box shape under the tree. Amplifier boxes are an unmistakable size so immediately I thought two things. 1: She’s the best wife ever or, 2: She’s messing with me. It’s an amp sized box with sweaters inside. Either way, it took every ounce of strength I had not to tear the box open before the 25th.

After a few weeks of impatient waiting, Christmas day finally arrived, and I got to open the box. Lo and behold I’m now the owner of the Cambridge CXA60. I must say, the team at Cambridge did a great job in packing this product and making the unboxing feel like a premium product should. Once the box is opened you’re greeted to large foam supports and the CXA60 snugly wrapped in a black cloth bag. Separately, in their own cloth bag are the remote, the control bus cable and batteries. Also included was a small start-up guide. First impressions are positive. One of the selling points of the CX Series is the unique floating design of the logo, created by the sneaky design of the front panel so the illusion only works from straight on.

Admittedly the CXA60 sat on our dining table for more than a few moments as I longingly stared at it before going about setting it up. The front fascia is clean and simple and gorgeous in the silver finish. Cambridge has dropped ‘Audio’ from their products and has added a Union Jack badge to the front panel. It’s a nice touch. From left to right are; a 3.5MM line input for an mp3 player, a 3.5mm headphone jack, 4 analog input selections, a direct button, speaker A&B selectors, a mute button, 3 digital input selections, Bluetooth input selector, balance, bass, treble and a large volume knob. The balance and tone controls are nifty buttons that are flush in their starting positions but protrude when pressed so you can make your adjustments. They are slightly flimsy and best left depressed once you made your tweaks. I almost never listen to music in ‘direct’ mode, so tone controls are a must for me and I’m glad that they weren’t omitted.

1. The CX line is digital-focused and as such, there isn’t a phono stage built in. Cambridge has two moving magnet phono preamplifiers the CP1 and CP2 available for purchase should you want to connect a turntable.
2. Also omitted is a record out. This is a non-issue for me as I haven’t hooked up my tape deck for years.
3. There is no USB input on the CXA60. If you want one, you’ll have to step up to the CXA80 or purchase the lovely CXN streamer (drool…). The lack of a USB input was a big bummer for me, I thought that a digitally focused amp would have all the connections but, instead I needed to source a 3rd party solution to connect my MacBook Pro.
4. Lastly, to use AptX Bluetooth, you must purchase BT100 Bluetooth dongle which will set you back about $120 Canadian. Many manufacturers have Bluetooth built right in, making Cambridge’s omission quite glaring.

Around the back of the amplifier are; two sets of speaker binding posts, analog and digital inputs, control bus inputs, pre-outs and a subwoofer out. This being my first Cambridge product, I have to say I really like the reverse labeling of the rear connections, it makes it easy to read when I’m peering over the amp from overhead. The top panel features a black plastic grill in the shape of a rounded ‘X’ for ventilation, it adds to the slick look of the CXA60. The remote is a sturdy well laid out affair. It isn’t back-lit, but it doesn’t really need to be. It is the same remote that is packaged with the other components in the CX series and one remote can control any of them. Batteries are included.

The Cambridge CXA60 sits on top of the cabinet to the right of my fireplace. The speakers, my trusty B&W 685 S1, sit one shelf (approx. 2’) above on either side of the fireplace. I know, it’s not ideal as speakers are best on stands yada yada, but this was to be the set up from the get-go and most of my day to day listening was done this way. I also tried the CXA60 paired with my Monitor Audio RX2’s for a change. The larger 8” woofer on the RX2 yielded a bit more bass, however the overall speaker cabinet dimensions combined with rear firing reflex port led to a stuffy or muddier sound over-all when placed inside the wall unit. I found the pairing with my 685’s best suited for the wall unit.

The source equipment I have connected are my Marantz CD5001, my MacBook Pro via digital optical cable and sometimes my Arcam rDac, our cable box and the aforementioned BT100 Bluetooth dongle to which I primarily stream music from my iPhone 8. Pairing the Bluetooth took a few tries to get going but once it connected it was stable. Once turned on, the CXA60 emits a clicking noise. And makes the same clicking noise whenever I switch inputs. It’s not bothersome but curious as I would have expected the modern looking Cambridge to be completely silent in operation.

I started off my listening via our cable box. It was the holidays, we had guests and none of them like the music I listen to, so 80’s and 90’s radio stations it was. Hall and Oates is a bit of a mainstay in our home so the first bit of music to which I paid attention. Without any break-in period, my Cambridge CXA60 pumped out the music rather easily and practically begged me to turn up the volume. I had read that Cambridge amps leaned toward the clinical side of reproduction. I didn’t find the CXA60 to be so much clinical as I did clear. Compared to my NAD 326bee it was certainly less dark but no less muscular in its presentation. I’ve thrown all my favorite music at this integrated amp, here are a few highlights:

The album is a Drum and Bass masterpiece and will easily be the album of the year. The atmospherics, tight drums and beautiful arrangements inspire – one day I’ll make music like this. ‘Gulls’ is currently seeing the most playback from me. It’s a slow burner that pays off huge. The CXA60 seemingly begs me to turn up the volume and I happily oblige. Turn the dial up, the Cambridge doesn’t strain. I found that turning up the bass didn’t overly dominate the sound, instead, it thickened the low end a touch which was helpful as I was listening minus a sub.

I had it on repeat for a few days. I’m still not sick of it. For a hoot, I tried the same track via Bluetooth and my iPhone 8. There was a noticeable dip in sound quality and volume level along with the expected squashing of dynamic range. A wired connection certainly sounds better than Bluetooth on the Cambridge CXA60, but it’s not a deal-breaker.

Blitzkrieg Bop was prominently featured in Marvel’s latest (and in my opinion greatest) incarnation of “Spidey”, Spiderman Homecoming. Sometimes I get away with streaming the track off my phone but other times I must pull it up off our PVR and rewind the animated end credits of the movie. The sound mix on the PVR sounds clearer than Bluetooth. But there is not much of a difference in sound between the PVR and my iPhone via the line-in on the front panel.

(I believe there’s either something wrong with the cable or my ancient laptop where the audio cuts out or crackles.) The album Malm is almost beat-less but the pads and soundscapes are all-enveloping and immersive, it’s worth turning up the volume on this one.

You get a heck of a lot for your buck with the CXA60. You get a looker of an integrated amplifier with good connectivity and powerful room-filling sound.

The Cambridge Audio CXA60 has been a much-welcomed addition to our home. It is arguably the centerpiece of our living room. I say arguably as my wife believes that the gas fireplace is the centerpiece but, clearly, she’s mistaken right? Not only is the amplifier a sexy piece of electronics but it sounds incredible as well. The ability to play music problem free via analog, digital and Bluetooth is frosting on the cake. Future inclusions of USB and Bluetooth built in would really make for an unbeatable product. The model up, the CXA80 does have USB built-in and more power for not too much more money.

After a few months of use, I see the benefit of the Cambridge CXN Network Streamer as a perfect companion to my set up. Having a streamer connected to a hard drive with all of my music at my fingertips vs having to fire up my laptop every single time is very appealing. Appealing too is a sleek stack of matching components, to be honest! Future purchase solidified. Now, I just have to convince the boss.

The post Cambridge Audio CXA-60 Integrated Amplifier Review appeared first on HomeTheaterHifi.com.

McIntosh fans may have minor qualms about these components, but their confidence will be (mostly) justified by the pleasure of owning gear that will probably outlive the purchaser. I know of nothing more durable than McIntosh equipment.

The McIntosh MVP901 Audio Video Player is a Blu-Ray A/V disc player that can be used with preamplifiers, processors, receivers, or streamers. It streams content via Ethernet, and through multiple other inputs. The disc section can play multiple disc types including CD/DVD-R/RW formats. It handles almost every file format including MKV video. It will up-convert 1080p video to Ultra HD, but will not play native 4K UHD discs with HDR and extended color. One can use either digital or analog outputs. The latter come in either unbalanced (RCA) or balanced (XLR) flavors. This is the only A/V disc player that McIntosh sells currently (at this writing), and is intended to work with all its other preamplifiers and processors.

The McIntosh MX122 Surround Processor is the least expensive A/V processor offered by the company, but it still offers a wide variety of great features. It can serve as a stereo preamplifier (using DSP or direct modes) and handles up to 11.1 channel input and output. In addition to a wide selection of digital inputs, including wireless and Bluetooth, the processor provides analog inputs, including a phono stage. The processor’s outputs for dual (mono) subwoofers allow flexibility in both two-channel and multi-channel playback. No stereo subwoofer feeds are available. The processor sports both digital and balanced analog (XLR) inputs and outputs.

The McIntosh MC205 Five-Channel Solid-State Amplifier is a classic McIntosh product, although without the brand’s iconic output transformers. It can drive up to five loudspeakers at a time, and can also be used to bi-amplify speakers if desired. The 200 watt-per-channel (into 4 or 8-ohms) amplifier is “classic McIntosh” in terms of its muscular sound, excellent control, striking appearance, and impeccable construction quality. Like the other Mac components reviewed here, it accepts both unbalanced (RCA) or balanced (XLR) sources.

The McIntosh MVP901 Audio Video Player is the only universal disc player offered by McIntosh. It is, therefore, exceptionally versatile to match most customer requirements. It accepts discs of almost any type, except Ultra HD Blu-ray, can serve as a network streamer, and does an exceptionally good job at all these tasks. The first challenge I flung at the player was a DVD+RW disc with MKV video files. Not only did the player recognize the disc and properly identify, then play the files, but it also transferred the 5.1 soundtrack intact. The MVP901 reads Region A1 discs only, so if you’re a fan of foreign movies, you’ll need a separate player for foreign discs. This is common for all disc players sold in the USA and should not be considered a shortcoming.

The player’s major shortcoming is that the McIntosh MVP901 will not read or play Ultra HD Blu-ray discs. I’m sure that this will be remedied shortly with a different model, but until then the up-conversion of standard Blu-rays to Ultra HD resolution works smoothly.

The McIntosh MVP901 loads quickly, plays robustly, even with scratched discs, and operates silently and smoothly. I tried DLNA streaming over Ethernet to the MVP901, and it immediately accepted the music via its Universal Plug-And-Play connection. The disc player is also Apple AirPlay compatible.

The analog outputs allow for stereo unbalanced (RCA) or stereo balanced (XLR) connections. Having the choice means that the player will work with any type of downstream equipment. I used the player as both a stereo DAC/Streamer and as a disc player for CDs, DVDs, and Blu-Rays. For movies, I used the MVP901’s digital HDMI connection to avoid additional DA/AD conversions at the processor.

I listened to the McIntosh MVP901 both through a passive preamplifier (analog output) and through the McIntosh processor (HDMI digital output). The player uses Sabre-brand DACs (a chip not identified by McIntosh) that have a characteristic sound. Many listeners like the “Sabre-sound” that is commonly associated with a high amount of detail in the upper midrange and treble. Fans believe that this adds “sparkle” to the treble and enjoy the effect. Other listeners dislike the emphasis, calling it “Sabre glare.” The MVP901 avoids most of the Sabre-glare effect, but potential owners should audition the player prior to purchase to decide for themselves. Other than that, the sound of the MVP901 is beyond reproach. Good bass extension and control with extended high frequencies make this an easy player to live with.

Another issue to consider with the McIntosh MVP901 is the remote-control. It is not backlit, making it difficult to find in the dark. It’s made from lightweight plastic (as are all McIntosh remote-controls) rather than being metal. It also lacks a button to open and close the disc drawer.

These remote-control ergonomics issues, however, will probably be academic for most users, who are likely to use an aftermarket universal remote such as the programmable (and backlit) Logitech Harmony line.

The McIntosh MX122 A/V Processor is a control center for high-end home theater systems. It IS Ultra HD-ready and supports HDR along with wide gamut color through its HDMI 2.0 ports with HDCP 2.2 content protection. The appearance is classic McIntosh with the green, LED-illuminated text and glass faceplate.

The processor has features that taught me new things about my audio system. For the past several years, I’ve kept my audio server computer in a room at one end of the house, and my audio components in a living room at the other end. An Ethernet cable connects the two. The majority of my music resides on a RAID-10 array connected to a MacBook Pro by USB, and the music itself is primarily stored in 44.1, 16-bit WAV files.

The McIntosh MX122 display, in addition to depicting the cover art and time track of the selection being played, also shows the format of the incoming audio stream. My WAV files, in McIntosh-speak, should always be identified as “PCM.” Imagine my surprise when some files were identified as “MP3 320.” When I asked McIntosh, they were unable to reproduce the problem and recommended that I check my server settings. Doing so, I found nothing amiss, so I downloaded another server software (ROON) that instantly cured the problem.

Without the McIntosh MX122 A/V Processor’s excellent information display, I might have never known that some of my music was being mangled before it ever reached my living room! Thanks, McIntosh!

The McIntosh MX122 A/V Processor, like the disc player, uses some undisclosed flavor of DACs. Their sonic signature is more prominent on the processor than it was on the disc player. So once again, this is definitely a component that should be auditioned prior to purchase.

I ran the Audyssey room correction software late in my review period, and was surprised to find how little effect it had. Apparently, my sound-absorber-treated listening room is fairly bass-friendly without the need for correction.

I tried the optical, HDMI, analog, and S/PDIF coaxial inputs on the MX122 without noticing any significant sonic differences. The processor can also accept Bluetooth and wireless streams, if you need that capability.

As delivered, the MX122 does not currently support Master Quality Authenticated (MQA) decoding, although the MQA content that I played without the “unfold” sounded perfectly good. The processor will also accept DSD, high-bitrate audio, and supports Ultra HD video with HDR and extended color.

I must also mention the MX122’s remote-control. Although it is backlit via a button on the side, this doesn’t help the user find the remote in the dark. The best handsets I’ve seen have a motion-activated backlight that illuminates by slightly bouncing on the couch, for example. This helps the user locate the remote in the dark. McIntosh could also review the ergonomics of this remote for some easy improvements.

I’d also like to have seen stereo subwoofer outputs. Although the MX122 has two subwoofer output connectors, they both use the same summed mono signal. So, no matter what you do, your bass-effects audio channel will never be more than “point-one” for the subwoofer(s). Since bass below 80Hz is generally considered to be non-directional, this issue may be academic.

The learning curve of the MX122’s setup menus is somewhat steep, but the better-than-average user’s manual makes it easy enough to navigate. After a bit of tinkering, I got the hang of the nomenclature, and could change input assignments, for example, without any further return to the manual.

McIntosh provides future firmware updates to keep the processor functional and current for a long time to come. In fact, McIntosh has announced that a firmware update is planned for the MX122 A/V Processor that will add support for Dolby Vision and HLG.

So, my overall impression of the McIntosh MX122 is that beyond the (to my ears) slightly bright sound, and its startling price, it is an exceptionally robust and durable piece of kit.

There’s less to say about the McIntosh MC205 than the rest of these components. Despite the amplifier’s lack of McIntosh’s classic output transformers, its 200 watts-per-channel is audibly intoxicating. This is a most excellent-sounding amplifier in addition to being carefully constructed and exceptionally durable.

Almost every audio nit I found to pick about the MC205’s output was eventually traced back to one of the upstream components. The McIntosh MC205 turned in a flawless performance that would likely be appreciated in comparison to amplifiers selling at any price.

The traditional “McIntosh big blue meters” can be distracting during movie viewing, so Mac has thoughtfully provided a “lights-off” switch on the left of the front panel. The amplifier runs cool, sounds great, and gives the owner great confidence that it will still be singing for decades to come.

Let me note that this amplifier is HEAVY. I’d recommend having assistance for unboxing and moving. I’m big, strong, and stupid, so I decided to unbox and rack the amplifier myself. I succeeded, but I wouldn’t want to go there again!

Of course, should any of these components give the slightest bit of trouble, McIntosh-authorized service centers are widespread and all the ones I’ve used have also been quick and competent.

I give the McIntosh MC205 five-channel power amplifier a clean bill of health and a strong, five-star recommendation.

Notes: Lest anyone ask, I’m reviewing this equipment with some less-than-loftily-priced speakers because I’m highly familiar with the sound of these speakers in my room. My other reason is that any speaker change on short notice would muddy the waters as to which sonic differences were caused by the equipment under review and which were caused by the change in speakers.

• Storage: Raid-10 four-disc array with USB3 interface
• Audio Server: MacBook Pro running jRiver Media Center 24, Roon software, and both Ethernet (DLNA) and TOSLINK connections to the McIntosh components
• DAC: Mytek Liberty (best sounding Sabre DAC implementation I’ve heard)
• Preamplifier: Schiit Saga passive preamplifier
• Amplifiers: Carver Premier THX 5-channel & Emotiva BasX A300
• Wires & interconnects – Audioquest & Straightwire
• Speakers – Emotiva T2 & C2, Thiel CS 1.6, RBH MC-6C
• Subwoofer – PowerSound Audio S3601 (dual 18”) sealed box

I’ve been on a gypsy kick lately, so you’ll have to bear with me. The acoustic instruments and unusual voices and melodies remind me of my maternal grandparents who were first-generation immigrants from Hungary and Romania. Music I’ve been enjoying lately includes the Gipsy Kings, the Goran Bregović Wedding and Funeral Band, Ogi Radivojevic, Emir Kusturica & The No-Smoking Orchestra, Balkan Beat Box, and Gogol Bordello. One of my favorites is the 2007 live in Serbia concert by Goran Bregović and Ogi Radivojevic as shown on YouTube. Unfortunately, I’ve been unable to find this excellent performance on CD. So…

The instrumental interlude in the middle of the song has some of the most ethereal-sounding guitar chording that I’ve ever heard, and the bass impact of the brass instruments should be visceral. The accordion should also be startling in its immediacy. This McIntosh gear lets the details through!

The McIntosh gear makes the most of what’s available and elevates the mediocre YouTube sound quality to something good enough that you won’t even notice the shortcomings.

It didn’t help that I was laughing… But the episode demonstrates the excellent dynamic range and excellent surround capabilities of the McIntosh trio. The MX122 not only has dynamics, but also steers soundtracks in such a way as to maximize the veracity of the surrounding acoustic. I don’t have the front width and height speakers that the MX122 is capable of using, but the pleasure of hearing the 5.1 performance of this gear makes me wish that I did.

People who buy MCINTOSH gear aren’t just buying sound quality. For the MCINTOSH fan, there’s nothing else quite like a MCINTOSH Audio/Video stack.

Although McIntosh gear almost always sounds at least good or better, consumers don’t buy McIntosh for sound quality alone. One purchases McIntosh gear for one or more of the following reasons:

• The traditional durability
• The innovative technology
• The generous control options
• The cachet of owning what is arguably “the best”
• The striking looks
• The service and repair network

This trio of components retails for $19,500. That isn’t a trivial price tag. Could you spend that amount on any other set of components and have all the virtues listed in the short-list above? Probably not. But if you’re only looking for equivalent audio performance, it is probably available for significantly less money in other brands. You won’t get the McIntosh durability or resale value, but you won’t spend twenty grand, either.

So, who IS the typical McIntosh customer? I’m sure that McIntosh has researched that question to death. But from the Kasbah viewpoint, when we spend $$$, we want audio performance! And it wouldn’t matter if it came in a Radio-Shack-looking box (the Schiit Yggdrasil comes to mind…). But the average McIntosh customer, whom I imagine to be a doctor, lawyer, dot-com exec, or hedge fund manager, wants a set of audio gear that matches their McMansion’s decor. What it sounds like truly IS secondary. The buyer wants to have the gear installed, programmed, and functional for the foreseeable future with absolutely NO breakdowns, issues, or problems. In fact, I’d wager that many of those who buy McIntosh (probably from their local Magnolia kiosk) also buy a lifetime service contract with the Geek Squad to fix anything and everything that ever breaks, period. So, what’s almost a new-car’s-worth of money to us is chump change to a McIntosh customer. Remember, cost is relative.

Would a Japanese AVR be trouble-free in ten years? I’d bet not. Will this Mac gear be trouble-free after the same time? I’d bet so. Plus, an ugly black Denon/Pioneer/Marantz/Onkyo/Etc. just doesn’t have the curb appeal of that gorgeous glass Mac.

In addition to the demographic just mentioned, there is a second group of McIntosh buyers. They are mostly baby boomers who have admired Mac gear for their whole lives, but could never afford it until now. I know that when I was buying a house for the first time while raising a family, I didn’t have much discretionary income. But once I got “over the hump”, put my daughter through college, and paid off the house, “hobby money” became more plentiful. Perhaps 5% of the baby boomers are also (financially speaking) in my shoes, and within that (huge) group, there are many who might not hear as well anymore (and would therefore just LOVE that “Sabre-glare”) but who still want the “great stereo” they couldn’t afford until now. And in many minds, “great stereo” equals McIntosh. Who am I to blow against the wind?

The MVP901 won’t play Ultra HD discs, but if that’s not a priority for you, this IS still a McIntosh component. For the MX122, be sure to carefully audition prior to purchase to see if you like the sound, and the muscular MC205 amplifier can be recommended completely without reservation.

What the MVP901 Audio Video player does, it does very well. Its lack of Ultra HD Blu-ray support is a shortcoming that each potential customer will have to contemplate and evaluate.

Despite some minor ergonomic quibbles, the price, and the faint hint of brimstone & “Sabre-sound,” the McIntosh MX122 A/V Processor is durable, versatile, beautiful to look at, and should be a very popular addition to the McIntosh lineup.

The lovely MC205 has nothing to criticize except for its weight. This isn’t even an issue unless you have a delicate back, like mine!

The time I’ve spent with these components has been a learning experience, and the McIntosh support group has been generous with their time and information.

The post McIntosh Reviews: MVP901 A/V Disc Player, MX122 A/V Processor, MC205 Five-Channel Power Amplifier appeared first on HomeTheaterHifi.com.

This is a digital product that doesn’t have any of the negative qualities we normally associate with digital playback. The sound is surprisingly smooth, natural, widely spaced, and with excellent bass response. In short, the Technics SU-G30 amp is an eminently musical high end audio amplifier.

I have been closely tracking Technics’ new product launches over the last two years. There have been quite a few new products that have been released that give a wink and a smile to Technics’ historic greatness. This goes for the large power meters on Reference Class amplifiers, the direct drive systems on their newest turntables, and their cozy Premium Stereo Headphones to name a few. They have all caught my eye (and ear). I am not alone and many of their products, including their incredible speakers, have received accolades among consumers and the audio press.

My only experience in listening to these new products has come at trade shows…until I found myself fortunate enough to receive two of Technics’ newest products – the Grand Class SU-G30 Network Audio Amplifier and the ST-G30 Music Server. The review here will concentrate on the network amplifier while I will issue an update in a few weeks that will cover my experience using the music server.

Both of these products are not inexpensive but their prices are commensurate with the technologies and implementation of same in these boxes. They include some of the most cutting-edge developments that Technics has pioneered for their uber high end offerings and these technologies are included in the products under evaluation here. I was surprised by how much innovation they have on tap and I think you will be too.

The new lineup of products from Technics embodies a ton of proprietary technologies that have been implemented to take music reproduction to a whole new level. Technics’ approach is consistent with the Japanese ethos of high quality design and manufacture. I will get into some of the technologies below but I wanted to lead off by stating that this amplifier communicates its greatness not only through the audible performance one hears but also in the very essence of its overall execution.

I am talking about build quality and it is the first thing you notice when confronted with this amazing little amplifier. I understood this amp was rated to produce 50 watts per channel into 8 ohms, but what surprised me was how hefty the box was when it arrived in my workshop. This amp is really put together, the knobs are polished so thoroughly that they sparkle like little jewels. It oozes pure class and respect, respect for the customer and self respect on the part of the manufacturer. There is no doubt that this is a product made to last a lifetime, forever providing supreme musical reproduction.

The Technics SU-G30 is a network amplifier that can be connected via many methods to include WiFi, Bluetooth, Ethernet, USB, SPDIF, etc. It also handles analog inputs and includes a tidy little phono stage. The architecture of the power section is Class D with a modest power rating. But I swear it sounds more like 150 watts per channel than the 50 wpc rating would suggest. Plus this amp has a knack for making every speaker sound better than it ever has.

Let’s talk about the underlying technologies that are a part of the Technics Grand Class SU-G30 Network Integrated Amplifier. The Technics website has very detailed information about all of this technology (though they don’t give away all of their secrets). I will only give a brief overview below.

Technics organizes their technologies into three broad categories – “Accurate Digital Technology”, “Noiseless Signal Technology”, and “Technics Definitive Design”. I’ll briefly discuss each of these categories here and I encourage you to visit the Technics website if you wish to dig deeper into all of this technology.

“Accurate Digital Technology” – Technics has developed their own jitter reduction circuit, comprising a clock generator in the noise-shaping system to reduce jitter in the low-frequency range and a high-precision sample rate converter for suppressing jitter in the high-frequency range. This system is therefor said to reduce jitter over the entire frequency range. Thechnics calls this their JENO Engine which is an acronym for Jitter Elimination and Noise-Shaping Optimization.

Also under this category is the GaN (gallium nitride) FET driver device with super-low resistance and a very short signal path. This enables the construction of a powerful amplifier using a single push-pull configuration.

Technics has further developed what may be the most unique of all the technologies found in this amp. This one also has a catchy name – LAPC (Load Adaptive Phase Calibration). But what is it, exactly? Technics sheds a little light on this technology but they do not reveal so much for fear that one could reverse-engineer it.

So they describe LAPC as a method to measure and adapt the phase delay due to impedance fluctuations within the loudspeakers. During calibration, the SU-G30 sends test tones to the speakers that sound strikingly similar to the tonal sweeps used by Audyssey but they become faster with each pass to the point of sounding downright staccato at the end. The amp must in some way measure the back-EMF from the speakers as there is no microphone involved. I am not clear exactly what the amp does with this information, but Technics claims it eliminates phase delays and improves the frequency response when implemented. It is easily toggled on and off and the result is subtle but worthwhile so I left it engaged during most of the analysis period.

Other elements of Technics’ “Accurate Digital Technology” include High-speed Silent Hybrid Power Supply (a fixed frequency switch mode power supply which reduces noise and distortion), a battery-powered internal clock generator, and a high rigidity metal double chassis.

Now on to the next category of technologies – “Noiseless Signal Technology”. This element comprises a number of advancements that are claimed to reduce noise and distortion. The first of these is Digital Noise Isolation Architecture. The premise here is that the playback devices (laptops, jump drives, and the like) are not low-noise components. So the SU-G30 isolates the interfaces for these devices to block and filter external electrical interference. The system also employs a jitter remover. This is said to offer “clear and stable” sound, free from noise and distortion.

The included Ultra Low Distortion Oversampling Digital Filter is claimed to reduce digital noise to a level at least 160 dB below the music signal!

High Res Re-Master is Technics’ version of an algorithm that can increase sampling rate and bit depth on compressed audio files. The claim is that it can upconvert to as high as 192 kHz/32 bits by reading ahead and interpolating the additional data to fill in the holes left behind in the compression schemes that are commonplace with modern digital music.

I used this amplifier primarily with WiFi streaming of Tidal. Technics also shipped me a matching music server, the ST-G30 which is in and of itself an incredibly accomplished product that I will discuss a little more in the “In Use” section below. (I will be publishing an update to this review in a few weeks that will cover my experience with the server.) I also used the SU-G30 amp to play back digital files from my Oppo BDP-105D Blu-ray player as well as analog playback of vinyl courtesy of my VPI Scout with Sumiko Blackbird High Output MC cartridge. Lastly, I dabbled with listening to Bluetooth via my iPhone X.

Set up and connection of the “legacy” hard wired components (Blu-ray player, server and turntable) followed the typical connection schemes of which we should all be familiar. The analog inputs are single ended unbalanced only but I do not view that as a major concern for this category of product.

For streaming (outside of Bluetooth of course), I predominately used WiFi. There are a number of methods at your disposal when it comes time to get this amp connected to WiFi and naturally Technics had one unique method (to me anyway) to get this done. It involved connecting to the network by using an iOS device that is already on the network. You locate the Technics SU-G30 in the Settings on your iOS device, select it and let the system does the rest. This connection method worked very well though I had to re-do the hook up after each firmware update.

The Technics SU-G30 can play back files from a DLNA server on your network. This is one playback method that I did not try. (I didn’t need to because I copied a large amount of music files to the ST-G30 music server which was connected via the rear USB. This offers the best sound quality but one could use the Technics ST-G30 as a DLNA server to playback music throughout their home.)

Technics’ primary intent is for the consumer to use the Technics Music App on their phone or tablet to control the system including playback of files from the server, Tidal, Spotify, or internet radio.

WiFi is a funny thing and there were times when I would have to reconnect the system to the network. I also found that there was a correct sequence to this connection that should be followed for best results. Unfortunately, I only have a single Ethernet hookup in my equipment rack (and no network switch) so I connected the ST-G30 server to the Ethernet and the SU-G30 amp was left to connect via WiFi. I would recommend the user connect via Ethernet whenever possible as this is the most reliable connection for networking.

The musical reproduction offered by the Technics SU-G30 was among the best sound of any amplifier I have ever reviewed. Technics has a short preamble in the manual that hypes the great sound of this amplifier and I agree with their marketing-driven assessment. It is ironic that the better digital gets, the closer it sounds to analog. Tubelike even. And at some point, digital can have the best qualities of digital and analog at the same time. This is how I view the audio prowess of the Technics SU-G30 – it is like analog, super clean analog at that.

My generalized listening impressions involved excellent purity of tone, a huge soundstage, amazing detail retrieval along with surprising excellence on streaming services. This was my first long-term relationship with MQA and I feel it shows great promise. Tracks encoded with MQA that were streamed over the SU-G30 impressed but in direct comparisons to Redbook CD of the same material ripped to the ST-G30 server clearly illustrated that Tidal is a reasonable facsimile of what is available but has not reached the same level of sound quality that physical media can deliver.

Another immediate impression I had of the SU-G30 is that it plays way louder without distortion than the 50 wpc rating would suggest. It really sounded more like 150 Watts to my ears.

Most of my listening was via a pair of GoldenEar Triton 5’s. But I started the review by connecting this amp to my bedroom system that has a pair of $500 standmount speakers. The SU-G30 made these speakers sound like high end studio monitors. It was the best I have ever heard from these speakers in every way but especially in their ability to pump out clean, tight, and deep bass. It was uncanny in this regard.

Instrumentation was simply piano, bass, and drum. These are ethereal works that have an endless subtlety and require a great system to squeeze out everything they have to offer (the disc doesn’t sound its best in my car, for example). Over the Technics SU-G30, the music fell into a groove and I believed I was hearing it live as much as ever. The Technics also did a better job of any amp before with respect to the retrieval of the tiniest details on this CD.

Some elements of classic reggae that make it so enjoyable to me would be all the percussion, the “chicka chicka” guitar, and of course the strong, rollicking bass lines. This box set is well done audio-wise and I found absolutely nothing to complain about while enjoying it over the Technics SU-G30. Too bad many tracks are alternate mixes. Some are very good but I also wish for original, album versions of the standards.

In any event, this was one of the albums that played to a volume much higher than expected. Also, the soundstage was high and wide but with great continuity from left to right (no hole in the middle). This staging was strongly experienced on “Jammin’”. This song was also a reliable test of all that is right with Reggae. The percussion was right on beat with every harmonic intact. The bass lines were strong and bouncy but didn’t take over or muddy the mid and treble. The guitars had a strong and lifelike attack.

This album also revealed one of the Technics’ strongest traits and that was its ability to make instruments originate from outside the boundaries of the speakers. This struck me right between the eyes on “Natural Mystic”. I hear this effect from time to time on various systems and I can’t explain it. This super wide stage was a lasting hallmark of what I heard through the SU-G30, time and time again.

Also, I heard more space between the notes and could isolate Geddy Lee’s voice regardless of any fireworks surrounding it while his voice held rock solid center stage with no wavering. The opening guitar on “Discovery” floated between the speakers in a most delectable way. Later, the drum kit was positioned perfectly across the stage. The bass is lean on this Blu-ray and the Technics didn’t embellish it in any way. The guitar soared on each and every track as well.

The CD version (which had been directly copied to the ST-G30 hard drive) was much cleaner and spry. I could hear much more detail in the music and the bass lines were more nimble, being less encumbered with overhang between notes. This was proof to me that the music server was the way to go if you wanted the best audio possible.

I wound up putting about 500 GB of music on the server. I would estimate that 75% of this was CD in a lossless encode, 20% was MP3 of varying flavors, and the remaining 5% is high-resolution music. I preferred to listen to the music I copied to the server over any of the streaming services. This was for many reasons that I will cover in my follow-up report about the ST-G30 music server.

And the one built into the Technics SU-G30 more than held its own on works such as the 180 gram pressing of Deutsche Grammophon Mozart’s Violin Concertos Nos. 3 and 5 featuring soloist Anne-Sophie Mutter leading the Berlin Philharomonic conducted by Herbert von Karajan. This album sounded every bit as real and spacious over the Technics as it has over my more expensive outboard phono stages.

THE TECHNICS SU-G30 NETWORK AMPLIFIER was able to make every speaker sound its best. The Technics amp showed itself with a wide soundstage, pure tone, excellent bass, and just an all-around high end audio performance. It is also extremely flexible as far as input possibilities to include numerous streaming possibilities. It has MQA decoding built in and functional.

This amplifier encompasses several major technical advancements that Technics pioneered for their reference class products. I think the good folks at Technics should be commended for including these advancements in this more modest amplifier. This allows a larger audience to enjoy pure high end audio goodness. Notice I didn’t say that it gives you a taste of the high end? That’s because the Technics Grand Class SU-G30 serves up more than just a taste, it gives you all the high end goodness you could ever ask for.

Of course this amp doesn’t have super high power output but I rarely felt that I needed more power even in my big system in the big room. But I do wish it had a preamp output for those who would use it as a preamp and add a bigger power amp. That being said, I think this amp is best suited for small to medium sized rooms. However, if you had high efficiency horn-loaded speakers, this amplifier would fill a whole theater with sound.

In conclusion, Technics has hit a home run with the Grand Class SU-G30 integrated amplifier and streamer. It’s not just a solo homer either, it’s like a grand slam! I never would have thought that my old studio monitors could sound as good as they did before the Technics SU-G30 came along. I have used these speakers to evaluate many amplifiers over the years and the best I have heard them was with the SU-G30. For me, the SU-G30 also represents a sort of convergence between digital and analog. It is the most analog sounding digital product I have heard to date. I hope all those out there who are total analog die-hards can get a chance to listen to this amplifier and honestly assess what they hear. I think they may be forced to reconsider things just a little bit.

The post Technics SU-G30 Network Audio Amplifier Review appeared first on HomeTheaterHifi.com.

Frankly, I didn’t know much about EAT, (European Audio Team) out of the Czech Republic, founded by Jozefína Lichtenegger and distributed in the U.S. by Vana Ltd. In addition to an extensive line of turntables, tonearms, phono preamplifiers and other things vinyl, they make their own vacuum tubes. That may partially explain the design of the E-Glo S that I have in for review; hybrid phono preamplifier that places twin triode tubes in the two gain stages with low-noise J-FET transistors for the output.

In 2013, EAT introduced the E-Glo, an all-tube phono preamplifier, the frontrunner to the Hybrid E-Glo S. The predecessor sells for about $6,995 while the new “S” hybrid is $2,995.00. The big difference is the outboard power supply for the E-Glo, whereas the E-Glo S is one chassis with an 18V power adaptor. For those concerned about feedback or hum, in reference EAT says; “…advanced power supply that uses anode voltage regulation and a well filtrated voltage. Filtration is in three steps, this result is a perfect S/N ratio…” The RIAA curve is passively equalized. Also gone are independent RCA inputs for MM and MC cartridges leaving just one pair spaced far apart.

Note: Since the beginning of my time with the E-Glo S, I’m told E.A.T. is coming out with the LPS – a dual linear external power supply as an option to the hybrid adding $1,295 for a total of $4,290. When purchased together, there is a savings of $495, bringing the package price down to $3795.

What the EAT E-Glo S provides is input impedance for MC cartridges at 10,25,50,75,100,1000, 47K Ohm and gain settings at 45,50,55,65,70 dB, a few less clicks than the E-Glo. While the MM gain is 45 dB. Each selection is illuminated with a small LED indicator on the faceplate but you may have to squint a little bit to see them.

It certainly is beautiful; side panels of high gloss Makassar, (or available with gloss black if you’d prefer) melds with a soft-colored aluminum cover and faceplate, delicately designed toggles on top of the unit and the triode tubes protruding the top, are protected by two aluminum “donut -shaped” disks, which may also act as heat sinks. The tubes are also wrapped in an EAT cooling damper. The E-Glo S is not a stackable component, those delicate tubes and all.

The rear is spartan; right and left gold-plated RCA input/outputs, a grounding screw and hook-up for the power supply.

Changing impedance, load capacity and gain is accomplished easily and quickly using the toggles top-mounted on the chassis, an excellent feature giving the capability to play, especially changing cartridges. Additionally, placed on top are toggles for on/off and a subsonic filter, more on that later.

Taking the lid off, EAT includes everything on a single circuit board that includes the power input along with the phono signal input and right/left channel outputs. The dual gain stages are separated to lower the noise floor.

I may have broken a few “cardinal” rules in reviewing the EAT E-Glo S phono preamplifier; I changed speakers and cartridges, that would be one too many variables changed. Nonetheless, it didn’t alter the result of my findings of a truly superior-sounding preamplifier.

Although I predominately used my MM Clearaudio Ebony cartridge, I did swap out for two Sumiko cartridges I have in for review; the (MM) Olympia and the (MC) Songbird, but that will be a future review. I also was not inclined to roll out the tubes but thought it best for this review to keep those already installed in the E-Glo S, upgraded as they are. Besides, I didn’t have anything better on-hand.

My system includes a Marantz TT-15S1 turntable feeding the E-Glo S through a Parasound P-5 preamplifier, Paradigm Persona 3F loudspeakers and with Transparent Audio Reference cables throughout.

The EAT E-Glo S I must say, is just fun to use. I’m impressed immediately by the on-the-fly setup, and simplicity. But getting to serious listening, I thought about clean instruments, John Coltrane’s Blue Train LP is easy to listen to with an easy tempo presented a modest challenge. Although highlighted by Coltrane’s tenor sax, there is so much subtleness in the complimentary instruments; go right to Side B, Locomotion, the opening track features Joe Jones on drums, is quick and weighty, tightly controlled by the Eat preamp. The thwack of the drum skin sounds crisp and taut. It doesn’t take long before Coltrane flares up the sax, brassy and sweet. Kenny Drew on piano sounds full and rich.

I’m a big fan of the big voice of Jonny Hartman; I’m puzzled why he doesn’t get more recognition as a true great American baritone singer. I listened to the 45 rpm version of, I Just Dropped By To Say Hello, features his ability to show deep strength, delicate details and control, the EAT E-Glo S simply nails it! The fine texture in his voice is sumptuous and throaty.

A favorite contemporary album is Beck’s Morning Phase, a bit folk, a bit rock – melodic, melancholy, mellow. The EAT E-Glo S brings out the lushness of the music, the instruments mysteriously slide across the soundstage, especially in the ethereal track, Heart Is A Drum. Yet the delicate acoustic guitar and banjo plucking are clearly delineated on the following track, Say Goodbye. The E-Glo S does this album justice as a modern masterpiece of music, at least IMHO by expressing some rangy dynamics.

Donald Fagen’s, The Nightfly is a must for anyone wanting to show off their system, especially on vinyl. It is a tight and polished recording, but also very rich acoustically, drop the needle on the first track I.G.Y. The speakers light up, the EAT E-Glo S goes to work, so well balanced, so musical, so enjoyable. Excellent tempo and fullness, the EAT preamp expresses the highs cleanly.

The inclusion of a subsonic filter of course begs to be tested, what is it, what’s it for? Hmm, well for example, warped records can cause woofer drivers in the very low frequencies in some speakers, to create unwanted noise. The subsonic filter on the E-Glo S with a slope of 18dB per octave, removes anything below 18dB. Some argue it’s inaudible anyway and others swear by it; cleans up the rest of the frequency chain, while the demand on the amplifier to deliver those lowest frequencies is relieved. I found no discernible difference switching it on and off.

Most sub-$1k phono stages are frankly, simple metal boxes. This is not a glamorous component I suppose, but the EAT E-GLO S elevates the status of the phono preamplifier both visually and in performance. To most, $3,000 for a phono preamplifier may just be too much, given so many products for so much less, even counting the phono stage included in a good quality integrated amplifier or preamplifier. This I will tell you with a straight face, there is a difference sonically that once you hear how greatly the hybrid E-Glo S sounds and elevates your system, you may not think twice about the upgrade and cost.

I can’t imagine a significant difference between the original EAT E-Glo and this new hybrid. But I will say if the pricier E-Glo sounds “better” than the E-Glo S, then I’m intrigued, because the Hybrid unit is thorough across the spectrum. I felt it resolved bass beyond adequate, clean and natural highs and especially finite detail. This is an elevate-your-system kind of product. I highly recommend it.

The post E.A.T. E-Glo S Tube Phono Preamplifier Review appeared first on HomeTheaterHifi.com.

While the phono preamp can often be an afterthought, ignore this critical link at your peril. As veterans of the audiophile game will tell you, a talented preamp is essential to maximizing system performance. This is never more true than for the phono preamp because the often tiny signal put out by cartridges needs to be amplified many, many times over. This is especially true if you seek to unlock the magic of low-output moving coil cartridges. The ability to amplify those tiny signals is only the beginning—the phono preamp must also do so without adding noise and distortion, even a smidge of which can easily spoil the sound. So who do you want for that job? Ron Sutherland. Phono preamps are, to say the least, his specialty. The Sutherland line-up features no fewer than nine different models, including the forthcoming $8200 Phono Loco with its radical current-mode design. The rest of the models range from the $14,000 Argentum to the $895 KC Vibe, which is now his most humbly-priced design. Humble in price, dear readers, only humble in price.

When you finally free it from the labrinth of protective packaging, the first thing you notice is that the KC Vibe is small, but the steel chassis makes it surprisingly robust. That heavy-duty-ness continues around back. My guess is that the KC Vibe’s gold-plated input and output jacks are the same ones used on the more than twice-as-expensive 20/20. Even if I’m mistaken, these definitely exude premium quality. The KC Vibe also features a ground post, which should minimize any ground-related nasties. And, just like in other Sutherland phono stages, the KC Vibe utilizes an outboard power supply.

Sutherland does not use dip switches in its designs. Instead, Sutherland utilizes jumpers mounted directly on the circuit board. Loading and gain adjustments are made by removing the top plate of the unit and physically moving the jumpers to your desired settings. It is a fairly simple process—all you need is a screwdriver to get the top plate off and a pair of tweezers to position the jumpers. It’s not the most convenient method, but I have never found setting a series of tiny dip switches all that convenient either.

The loading options include 100, 200, 475, 1k, or 47k Ohms. You can select gain settings of 40, 45, 50, 55, or 60 dB. This makes the KC Vibe compatible with both moving magnet and moving coil cartridges. You also notice the great deal of attention paid to the arrangement of the components on the PCB—it’s all about reducing interactions, distortion, and overall noise level.

Set-up is uncomplicated. As you can see, the PCB is very clearly marked with the loading and gain settings. I had been using and enjoying the Rega P6 and Ania MC cartridge with my 20/20, so I tried to mirror those settings on KC Vibe. While I had initially set the 20/20 at 64 dB of gain and 100 ohms, I found that the sound took on a bit more weight at 200 ohms, so I set the KC Vibe at 200 ohms and 60 dB, it’s maximum level. I then plugged in a set of Chord Shawline single-ended interconnects into the “OUT” jacks on the back of the KC Vibe. Notably, there is sufficient space between the jacks so that, should you chose to do so, you can use cables with very substantial RCA jacks. Next, I took the captive Rega interconnects from the P6 and plugged them into the KC Vibe’s “In” jacks. Finally, I took the small power supply lead, plugged it into the back of the KC Vibe and plugged the other end into my High Fidelity Cables MC-6 power distribution block. Unlike the 20/20, the KC Vibe does not have separate power supplies for each channel, so you only need a single AC receptacle to get it powered up.

I saw Stewart Copeland, he of The Police fame, on some old season of the BBC’s “Top Gear” on Amazon Prime. He was featured in the celebrity in the reasonably-priced car segment. I’m not sure how he did driving, but seeing him reminded me of one of my favorite albums, which I had not listened to in a while, “Ghost in the Machine.” I also wondered… I know The Police were hugely popular, but how much did people credit Stewart Copeland back in the day? I wonder because there is just no way around this—the man is miles ahead of everyone else is in that band. I know, I know, that includes Sting, but don’t people hate him now anyway? I guess Sting’s voice is cool and maybe he wrote some good lyrics, but that really doesn’t compare to Stewart Copeland’s drums. My original pressing of this record is very clean, in other words, it’s analog catnip.

While I don’t particularly like the lyrics, “Everything Little Thing She Does Is Magic” features truly incredible percussion. If I was in this band and I heard someone playing this, my head would explode. Whoever mixed this album is the second-runner-up genius here—wise enough to hear what Copeland is doing and feature it. What’s crazy is that while it’s so easy to fail when you completely go for it, Copeland completely nails it here. He reminds the rest of us that when you take big risks, you can get big rewards. Talent like this…it shakes you. “Invisible Sun” is a sort of interesting song, but not that interesting. Until you hear the drums. The drums sound German-perfect, as in German automotive engineering. I don’t know if it’s technical perfection. To me, it just sounds like overall perfection. The KC Vibe had impressed me from the jump.

That delicate piano and bass come together and linger then float across the space in front of you. As much as this track floored me, I do think the 20/20 is even quieter on this track and therefore more dynamic than the KC Vibe, although I did wonder if I was also hearing a difference between the 60 dB of gain in the KC Vibe and the 64 dB of gain in the 20/20. Happily, Sutherland allows you to debate these fine details.

A good phono stage will make this record sound urgent and aggressive, while a lesser one will sap much of the album’s vitality. Luckily, the KC Vibe is the former. On “Monitor,” Siouxsie sings about government surveillance (yes, that apparently existed even back then) and how the media tends to make entertainment out of crime and all sorts of human tragedy. Admittedly, the material is…rather…dark, but strangely, what you most get is an unbridled sense of momentum. There is just so much energy stored on that strange black disc that you almost feel the stylus rip through the grooves. And in the end, all you’ll really care about is how much L-O-U-D-E-R you can make it and how much more visceral it can feel. The KC Vibe shows here that it will get out of the way and let you really hear and feel your music.

Another great value from the mind of Ron SUTHERLAND. At less than $1000, the performance makes this a no-brainer.

I came into this review thinking there was no way I could ever own a lesser phono stage than the 20/20. I was wrong. I really don’t want to let the KC Vibe go. Sure, it is not the 20/20’s equal, but at less than half the price, how could it be? It’s one of those components that is superb at communicating all aspects of music and it does so with great nuance that becomes easy to appreciate. The thing that gets me is that, like the 20/20, it strikes this wonderful balance between relaxation and excitement that is immensely satisfying. Cue applause.

The post Sutherland Engineering KC Vibe Phono Preamp Review appeared first on HomeTheaterHifi.com.

They range in price from a few hundred dollars up to several thousand. They are well respected, and for good reason. Their products are very high quality.

The Pro-Ject RPM 9 Carbon turntable is in their middle range, at $2,499, and it includes a 9” Evo carbon-fiber tonearm. As the name implies, the tonearm is made from carbon fiber. This minimizes resonance of the tonearm as it is exposed to various frequencies that the cartridge is tracking.

The Pro-Ject Tube Box DS2 phono preamplifier is in the proper price range ($799) for the Pro-Ject RPM 9 Carbon turntable. I think that one should not go overboard when selecting the various components to go together for a turntable and preamp setup. So, for example, in my opinion, the phono preamp should cost about 1/3 the cost of the turntable, and the cartridge should cost about ½ to 2/3 the cost of the turntable. Of course, this is flexible, but in general, a good approximate.

A Sumiko Starling MC phono cartridge was supplied with the RPM 9 Carbon turntable and Tube Box DS2 preamplifier. It is a low-output (0.5 mV) design.

The platter is heavy (16 pounds), and heavy is good. It results in low resonant response to loud dynamics from the music playing from speakers, but also, low wow & flutter.

The plinth (base) is a mixture of MDF, carbon, and steel pellets. This mixture has low resonance, like the platter, and therefore, low transmission of vibrations from the music to the cartridge.

The overall footprint is quite compact, so the turntable will fit just about anywhere. For the review, I placed it on a small table, shown below.

The Pro-Ject Tube Box DS2 phono preamplifier is in the proper price range ($799) for the Pro-Ject RPM 9 Carbon turntable. I think that one should not go overboard when selecting the various components to go together for a turntable and preamp setup. So, for example, in my opinion, the phono preamp should cost about 1/3 the cost of the turntable, and the cartridge should cost about ½ to 2/3 the cost of the turntable. Of course, this is flexible, but in general, a good approximate.

Sumiko offers a wide range of cartridges that will fit any budget. The supplied cartridge, the Sumiko Starling, is an MC (Moving Coil) cartridge. What this means is that there are two small coils of wire at the top end of the cantilever (the “needle”) arranged at 900 from one another. When the stylus (the diamond tip at the bottom end of the cantilever) moves side-to-side (laterally) or top-to-bottom (vertically) in the LP groove, the coils at the top also move. They are situated in a permanent magnet’s magnetic field, so that when they (the coils) move, an electric current is generated in the coils, one for the left channel and one for the right. This current is fed to the phono preamplifier, which applies a “Post-Emphasis” (“De-Emphasis”) curve, called the RIAA. Basically, it boosts the low frequencies and attenuates (reduces) the high frequencies, before sending the phono preamplified output (about 500 mV to 1 volt) to the main preamplifier. When the LP was manufactured, a “Pre-Emphasis” RIAA curve was applied to the musical signal, attenuating the low frequencies and boosting the high frequencies. This is done so that the lateral distance in the groove is the same for all frequencies. If this were not done, the low frequencies would have a large lateral movement in the groove, and the high frequencies would have a very small lateral movement. This, in turn, would cause the stylus to jump out of the groove when loud bass occurred in the music. Secondly, because the lateral movement in the groove would vary a lot, the low frequencies would overlap between grooves. The Post-Emphasis RIAA curve restores the original loudness level of all frequencies. The crossover point for the RIAA curve is 1 kHz, meaning that a 1 kHz musical signal is not amplified or attenuated.

The turntable is shipped completely disassembled, so you need to plan on an entire morning or afternoon for setup.

I unpacked all of the parts and placed them on a large table.

Then, I assembled the plinth (base), which entails screwing on the feet. They have powerful magnets inside, and when the turntable is placed on a table, magnets on the upper end of the feet sockets repel magnets in the feet, producing an air suspension.

The platter was then placed on the center spindle.

I adjusted the feet by screwing or unscrewing them so that the platter was level, as indicated by a bubble level. To do this, I lifted the plinth near the foot that I wanted to adjust, with one hand, and then turned the foot with the other.

You need to adjust the base so that the bubble level is centered regardless of which way the level is rotated. This can take some time because adjusting each of the feet lifts or lowers the plinth in two dimensions.

Then, I set up the motor by placing it at the side of the turntable, adding the rubber belt over the motor pulley and the platter, and adjusting the distance between the motor and the platter using the included plastic guide, shown below. You place the guide over the motor, with the center of the guide over the center of the motor, and the outer edge flush against the platter.

A final check with the bubble level, and the motor alignment is done.

Next, I removed the wire that bound the tonearm to the tonearm holder (tonearm rest).

Noting the weight of the Sumiko Starling cartridge, I selected the appropriate counterweight (four counterweights are supplied). I screwed the counterweight onto the rear of the tonearm.

I then attached the Sumiko Starling cartridge to the front end of the tonearm.

The four color-coded conductors are then attached to the color-coded pins on the rear of the cartridge.

Next, I adjusted the counterweight so that the tonearm floated horizontally (did not go up or down when released). Then, I turned the counterweight dial so that it read “20”, which indicated a tracking force of 2 grams. Using a precision digital tracking force gauge, I found that it was not exactly 2 grams, so I adjusted the counterweight until it read 2 grams on the tracking force gauge. The digital tracking force gauge does not come with the turntable or cartridge. It is an optional accessory, and one that I highly recommend, as it is important to have an accurate tracking force. You can find this gauge on the Accessories page of the Pro-Ject website. Having a precisely accurate tracking force will extend the life of your expensive LP collection (as well as the stylus).

The Horizontal Tracking Angle (HTA), also called the Lateral Tracking Angle, is the tangential angle of the stylus as it sits in a groove on the LP. It needs to be tangential to a line from the center spindle to the outer edge of the LP. This is accomplished using a protractor guide. One is available from Pro-Ject in their Accessories section. I used one that came with a test LP. Using the protractor, one adjusts the cartridge so that it is parallel to the protractor guide.

The cartridge moves in an arc across the LP, so it is only at the proper tangent at one place. You have to choose where that place is. I chose a spot that is midway between the outer edge of the LP and the beginning of the lead-out groove at the end of the LP.

The Vertical Tracking Angle (VTA) is the angle of tilt, nose down or nose up, that the cartridge has when the stylus is in the record groove. After mounting the cartridge, the VTA needs to be adjusted by leveling the tonearm. On the Pro-Ject RPM 9 Carbon, this is done by loosening two hex screws at the rear of the tonearm, then lifting or lowering the tonearm until it is level with respect to an LP on the platter. Hex wrenches of various sizes, required for assembling and adjusting the turntable, are included. Here is a photo of the rear of the tonearm, showing the two sockets where the hex screws for adjusting the VTA are located.

To do this, you insert the hex wrench in the two sockets, loosen the hex screws (hold on to the tonearm so that it does not collapse down onto the plinth), and then move the tonearm up or down until it is level (the space between the tonearm and an LP), as shown in the photo below.

The Azimuth refers to having the cartridge not tilted to the left or right, i.e., when looking at the front of the cartridge, not having the left side closer or farther from the surface of the LP than the right side, and more specifically, the cantilever is vertical.

To do this on the RPM 9 Carbon, you loosen a hex screw on the side of the tonearm, as shown below. The screw is just to the left of the number 25 on the tracking force dial.

When the screw is loose, you rotate the tonearm until the cartridge cantilever is vertical when resting on an LP. Note: raise the tonearm with one hand and rotate it with the other hand. Do not rotate the tonearm while the stylus is resting on the LP. Once it is vertical, tighten the hex screw (with the tonearm raised).

When playing an LP, there is a tendency for the stylus to move towards the center spindle because the grooves near the center are rotating at a lower linear velocity than grooves near the outer edge (the inner grooves are smaller diameter).

The solution to this is the Anti-Skate control. It consists of a small, light weight, attached to a filament that is attached at the other end to the tonearm. The filament is suspended over a rod. Depending on the tracking force, the filament is suspended on the rod, closer or farther from where the rod is attached to the tonearm.

You can see the rod at the top, center, which is attached to the tonearm. The Anti-Skate filament is looped over that rod and also the rod on the right, center, then the weight is suspended.

Here is another photo (below) at an angle that shows the filament, weight, and rods in a better light.

The Pro-Ject Tube Box DS2 phono preamplifier has two 12AX7 dual triodes. It is designed with the first triode as the input stage and is cascaded with a 2SK170 J-FET transistor. The gain of this stage is about 70. The second triode is used as a classic gain stage biased into pure class A.

I set the resistance load to 100 ohms and the capacitive load to 220 pF. I used a gain setting of 65 dB. The Subsonic Filter was turned on.

Here are the connections I used on the rear panel. There are two sets of inputs, and I used Input 1. Note that there is a ground wire from the turntable that is connected to the phono preamplifier in the upper left corner.

The motor is turned on by pressing the center button on the top. The 33 1/3 rpm light will illuminate. It is the one on the left. Pressing the power button again will illuminate the 45 rpm light. Holding the button down will turn the motor off.

Besides the Pro-Ject RPM 9 Carbon turntable, Pro-Ject Tube Box DS2 phono preamplifier, and Sumiko Starling phono cartridge under review, I used a Balanced Audio Technology VK-5i Pure Class A Triode Preamplifier (Fully Balanced), Balanced Audio Technology VK-500 Solid State Stereo Power Amplifier (Fully Balanced) (250 Watts per Channel into 8 ohms), and Magnepan 20.7 Planar Magnetic Full-Range Speakers. Cables were Wireworld and Mogami.

This album is important for testing vinyl and speakers, using either the digital version or vinyl version, because it has some very intense bass (cannons) during the climax sequence.

The turntable and cartridge tracked the cannons without any problem. I say turntable and cartridge because tracking is an issue that is affected by both items. If the tonearm suspension (gimbal in this case, as compared to pivot) is close to frictionless, and the cartridge cantilever is compliant, the stylus will stay effortlessly in the groove, which it did.

The pedal notes are the challenge, but the Pro-Ject and Sumiko did not blink.

And, even though it is a test LP, I enjoyed the musical selections for themselves compared to sine waves and noise (and silence too) on conventional test LPs.

Unfortunately, this was a long, long time ago, way before my time, so I never got the chance to hear this genius in person. But, we can hear his fabulous music. This album (AMER 90283) showcases his Piano Concerto no. 3 (the “Rach 3”), played by Byron Janis and the London Symphony Orchestra, conducted by Antal Dorati. It was recorded on 35 mm magnetic tape, compared to conventional ½’ studio tape. This gave a better quality recording.

The performance is excellent, and it sounds terrific. The usual Rachmaninoff dynamics are in full display.

Tchaikovsky’s music usually has plenty of violins playing rich harmonies, and that is the case here. It is difficult to reproduce because there are so many frequencies occurring at the same time, but it presented no problem for the Pro-Ject and Sumiko system under test.

Many of my LPs are at 45 rpm. There is an advantage to this, and it does make the collection pretty expensive, but I consider this part of being an audiophile. It is an expensive hobby.

What strikes me about old analog recordings, presented on vinyl, is the “realness” of the sound. In particular, the brass, and especially trombones. I can hear individual vibrations of each note.

It is amazing to me that, of all the test LPs out there, the test tracks on each LP are different. There does not seem to be a consensus of what tests should be standard, except for the wow & flutter test. So, I had to pick and choose from each of the test LPs that I have on hand.

Except where noted, these tests are system responses, meaning they reflect the turntable, the cartridge, and the phono preamplifier.

First, a 1 kHz sine wave, recorded at 0 dBu. The primary distortion peak is second-ordered. This is one of the reasons that vinyl sounds so good. Second-ordered harmonics are pleasing. The THD+N numbers are not truly reflective of the distortion because the RIAA Post-Emphasis boosts the bass, and this includes the low frequency noise. The RIAA curve boosts the bass below 1 kHz, with increasing amount as the frequency decreases.

Now, a frequency response. The test tracks were divided into two separate tests, one for the high frequencies and one for the low frequencies. The high frequency track was at – 20 dB, while the low frequency track was at 0 dBU.

You can see the response is flat up to about 12 kHz and then begins to rise. This is not uncommon. The dip at 18 kHz is probably an artifact. The response drops rapidly below 20 Hz due to the subsonic filter that attenuates beginning at 20 Hz and increases at 12 dB/octave below 20 Hz.

I tested the cross-talk (channel separation) by using a 1 kHz sine wave only in the left channel. There was no groove signal in the right channel.

The cross-talk yielded a -41 dBV (-39 dBu) difference, meaning that the cross-talk in the right channel is -41 dBV lower than the signal in the left channel. This is a good result.

For a tracking capability test, I used a 300 Hz sine wave at + 12 dB. That is a very intense track and represents a peak level signal (0 dBu is the normal upper end recording level limit). The cartridge handled it beautifully, shown below.

Let’s look now at the spectrum when playing a silent groove (no music, just silence). Again, you can see that the low frequency noise is boosted, as per the RIAA Post-Emphasis (De-Emphasis).

Compare that with just the Tube Box DS2 phono preamp, and no connection to the turntable.

With a 40 dB gain setting, the noise level is very low. That is the gain setting that I would use with a high output moving coil cartridge, e.g., the Sumiko Blackbird. (2.5 mV).

With the 65 dB gain setting that I used with the Sumiko Starling low output (0.5 mV) moving coil cartridge, the noise level is much higher. This is the compromise that has to be made with a low output cartridge. What you get in return is more detail, because the cantilever is lighter (the number of turns on the coils is lower, which results in lower output). When the stylus contacts the hills and valleys, and lateral displacements in the groove, it moves with those hills and valleys, and lateral displacements. A lighter weight cantilever is more easily moved, and thus, will reproduce small details better than a heavier cantilever in a high output cartridge. It is not necessarily a huge difference, but one that is noticeable, but this depends on the rest of the equipment in the signal chain as well.

I used the subsonic filter because it reduces the low frequency noise below 20 Hz.

The wow & flutter test is shown below. It consists of a 3,150 Hz sine wave. The spectrum shows a peak at 3,150 Hz and then slopes down on either side. From the tests I have seen elsewhere with other turntables, my conclusion is that, if you draw an imaginary line from the peak at 3,150 Hz down to 3,050 Hz and a line from the peak at 3,150 Hz down to 3,250 Hz, any peaks above those diagonal lines would suggest moderate wow & flutter (typical of inexpensive turntables, i.e., $499), while a very good wow & flutter response would show no peaks above those diagonal lines. In the case of the Pro-Ject RPM Carbon 9 turntable, all the peaks are below the imaginary diagonal lines, which is what I would expect from a turntable of this caliber.

The Pro-Ject RPM Carbon 9 turntable is a fine product. It is silent and smooth. The accompanying Sumiko Starling cartridge amazed me with its tracking capability and the amount of detail in the music that it gave. The Pro-Ject Tube Box DS2 phono preamplifier is a good choice for this particular turntable. The three-part system delivered very euphonic distortion that analog-lovers will very much enjoy. If you want to get this turntable, and you don’t already have a cartridge and phono preamplifier, this is a package that really works well.

The post Pro-Ject RPM 9 Carbon Turntable, Tube Box DS2 Phono Preamp, Sumiko Starling Cartridge Review appeared first on HomeTheaterHifi.com.

The D 3045 Hybrid Digital Amplifier may look like a desktop amp, but it can easily drive the most demanding speakers to high volumes without difficulty. A cool-running design delivers a continuous 60 watts-per-channel into 8Ω with dynamic peaks of up to 200 watts into 2Ω. A large input complement includes analog, moving-magnet phono, coax, optical, HDMI with ARC, and USB. Two-way Bluetooth means you can stream from your phone to the D 3045, then out to a pair of wireless headphones. Wrapped in a diminutive chassis, it can be installed out of the way on a bookshelf, or on the back corner of your desk. It provides amazing two-channel performance for just $699.

Since I purchased my first NAD product in 1984, a 3020 integrated amplifier, I have been a fan of their simple and elegant approach to audio reproduction. That amp was a revelation for me in college and their components still impress me today. In 2013, I reviewed the spiritual successor to that legendary brown box, the D 3020 Hybrid Digital Amplifier. Today, I’ll be checking out its steroid-laden bigger brother, the D 3045.

Like the D 3020, the D 3045 uses NAD’s hybrid digital design which comes from the Dutch company, Hypex. It is fundamentally a Class D module, but NAD has optimized it for greater flexibility with a variety of speaker loads. It can drive just about anything you want to connect at a continuous 60 watts-per-channel including the Axiom LFR1100 4Ω tower speakers I’ll be testing with.

The D 3045 can accept analog sources, including moving magnet phono, digital components through coax and optical, and even HDMI and asynchronous USB. And its tiny chassis means you can set it up in any space, large or small. In short, there is little this tiny amp cannot do. Let’s take a look.

• NAD D 3020 Hybrid Digital Stereo Amplifier
• NAD C 328 Hybrid Digital DAC Integrated Amplifier Review
• NAD M32 Direct Digital Amplifier Review

The front and top surfaces are a continuous strip of piano-black trim that goes from vertical to horizontal with a smooth curve. When powered off, you see only a small orange icon glowing up top and two large knobs, one for volume and one for source selection. Power the D 3045 on by either touching that glowing icon or with the small remote. Then, a light blue display appears showing the current volume level and active source input. The knobs turn firmly with light detents on the input selector. Below the display is a 3.5mm headphone jack.

Around back is an input panel that supports just about any source you care to use. In addition to stereo RCA and 3.5mm inputs, it accepts moving-magnet phono signals (RCA with ground screw), digital sources through one coax and two optical connections, along with HDMI/ARC and an asynchronous USB port that accepts MQA and DSD up to 24-bit/384kHz. The digital inputs top out at 24-bit/192kHz.

The D 3045 has been described to me as, “a D 3020 on steroids.” It employs the same UcD modules licensed from Hypex. It’s optimized for high current and low impedance which means it can drive nearly any speaker load without strain or change in sound quality. In my D 3020 review from 2013, I received a white paper from NAD that laid out the technology’s chief benefits. Here’s a refresher:

• Load invariance, meaning it doesn’t change sound with different speaker impedances
• Unaffected by very low impedances
• Loop gain is constant over the full audio frequency range leading to low distortion even at high frequencies
• Ability to be constructed with all discrete parts (no expensive control ICs)
• Excellent EMC (electro-magnetic compatibility) performance
• Low, flat output impedance for good bass control
• Flat response in all loads
• Distortion that is extremely low even into low impedance at the highest frequencies

NAD rates it conservatively at 60 watts-per-channel continuous into 8Ω. While this may not be an impressive figure, it should be noted that most listening in the home takes place using no more than one watt, with occasional peaks up to 10. The D 3045 can peak at up to 200 watts into 2Ω. And since it performs equally well with speakers of different impedances and efficiency ratings, I saw no reason why I could not hook it up to my Axiom LFR1100 towers.

Connecting the D 3045 to my LFR1100s this way means I can only listen to the front array of drivers. Normally, one would use a DSP module with four channels of amplification to engage the speakers’ omni-directional capability. So, for this review, they are functioning as a pair of M100s. They are a full-range ported tower rated at 4Ω and an efficiency of 93dB (1w/1m) in-room. Normally, I drive them with an Emotiva XPA-5 power amp which weighs as much as ten D 3045s!

Installation could not be simpler. Connect your speakers to the excellent five-way binding posts, connect your source device(s), and plug in the provided IEC power cord. Power on by touching the glowing icon on top then select an input with the smaller of the two dials. The front panel display shows the current volume level, which always defaults to -20dB at powerup, and the active input.

For my testing, I connected an OPPO UDP-203 Ultra HD Blu-ray player via coax. This usually results in slightly cleaner sound than HDMI because of its inherently lower jitter. If you plan to use a hi-res source, the USB input is asynchronous and supports DSD up to 24-bit/384kHz along with MQA (Master Quality Authenticated). Sadly, there is no BluOS functionality like that found on some other NAD components. If you want to go wireless with the D 3045, Bluetooth with Qualcomm aptX HD technology is included. It’s two-way so you can stream from a phone or tablet into the amp and listen to the output with wireless headphones. Of course, can-fans can plug into the 3.5mm headphone jack on the front.

My usual audio review consists of listening to familiar recordings where I can pick out specific details that I know should be there. Most components are able to present the material competently and I can find out what I need to know in an afternoon or two. The D 3045 was a different story. In short, it made me want to keep listening. My single afternoon turned into several, where I went through a whole litany of recordings on CD and streamed over Bluetooth from my iPhone. This is one impressive amplifier.

My experience began with a simple test. After hooking everything up, I popped in a Queen compilation that started with Bohemian Rhapsody. It offered the expected detail and dynamic range and I was just about to move on to another disc when Another One Bites The Dust came on. The opening bass line grabbed my attention with possibly the tightest control I’d ever heard. I don’t often listen to music through the Axioms full range without a sub. The D 3045 had no trouble finding all their bass potential and exerting its mastery over it. I wound up listening to the disc for another hour, it was so compelling. Freddie Mercury’s vocals were perfectly placed in a phantom center channel with just a hint of grit that you don’t often hear.

Next up was Jimi Hendrix and Axis Bold as Love. I often listen to this album in the car and though its sound system is adequate, it’s somewhat mushy with this disc. The NAD laid down the law and had no trouble separating Jimi’s guitar from the less-defined drums and bass lines. His vocals also came through with perfect balance and placement.

Before moving on to classical selections, I played a few tracks from Metallica’s Hardwired to Self-Destruct. It’s one of their better-mixed efforts and leaves out the compression artifacts that plagued past releases. I could play it as loud as I wanted without distortion. My ears set the limit, not the D 3045. By the way, Lars Ulrich is one of the most rushing drummers I’ve ever heard. No wonder they argue during recording sessions.

I wanted to try the Bluetooth feature, so I thumbed through a few selections on my iPhone. Immediately obvious was the difference between tracks ripped from CD in Apple Lossless and downloaded content. Ripped songs could be played as loud as desired and only a faint hint of compression crept in at high volumes. Frank Morelli’s bassooning carried plenty of detail in its overtones and balanced nicely with the accompanying orchestra. One selection included guitar in a lovely timbre with its cleanly plucked strings offset against the bassoon’s warmth. When I selected a compressed track (256kbps), I found there was a volume limit though I could still turn it up fairly high. This speaks well to the capabilities of aptX Bluetooth and its higher transmission bitrate. Other components usually stop the fun at volumes just beyond the background level. The D 3045 is worth buying just for this feature.

For classical CDs, I turned to my familiar recordings of Brahms symphonies performed by the Chicago Symphony. These discs date back to 1991 and don’t deliver the shimmering detail of modern digital recordings. It takes a good amp to flesh out every nuance. The D 3045 brought out detail I hadn’t noticed before like cello players squeaking their fingers as they slid up and down the fingerboard. It brought a human quality to the performance that many amplifiers just can’t reproduce.

My final selection was a disc of Rossini Overtures performed by the Montreal Symphony. It sounds a bit more modern, though it was recorded just a year later in 1992 and features a lot of character. You’ll be tapping your feet and dancing around the room by halfway through. I was reminded of a televised concert where Sir Georg Solti conducted an entire program of these overtures with nothing more than tiny movements of his fingers and eyebrows. The D 3045 is a supremely musical amplifier that remains perfectly neutral and accurate.

The NAD D 3045 HYBRID DIGITAL AMPLIFIER is the best integrated amp I’ve heard for under $1000. Honestly, you’d have to spend a lot more than $1000 to beat it.

I can’t imagine anything that would improve the D 3045’s sound quality in a significant way. For $699, it delivers audio equal to more expensive products. It has every feature one could want in an integrated amplifier and it can drive just about any speakers currently sold today. Its character is definitive NAD – neutral and accurate with seemingly endless power reserves. It may be rated at 60 watts-per-channel but trust me, you won’t find its limits in a home environment.

Though I have waxed on about the D 3045’s audio prowess, I must note again how super-convenient it is. It’s small enough to be hidden on a bookshelf or corner table and generates almost no heat. Ventilation just isn’t a concern. It’s equally happy driving a small pair of bookshelf speakers, or a pair of large towers. My Axiom LFR1100s are rated at 4Ω and 93dB efficiency; not a tremendous load but one that would heat up most mid-fi receivers. The D 3045 barely rose above room temperature, regardless of volume level. Distortion? It just doesn’t exist from this amp. I twisted the volume knob past the point where I could stand it and heard only clean sound. One caveat, if your source material is poor, this amp won’t help. It is neutral and honest, like all NAD products.

Some enthusiasts may have a hard time wrapping their minds around the idea of a tiny amp with such lofty capabilities. But it’s very real. It doesn’t have to be a large and heavy box to sound good. NAD proved it with the D 3020 five years ago and they’ve proved it even more with the D 3045. It doesn’t just think outside the box, it throws the box in the recycling bin. This amazing component receives my highest recommendation.

The post NAD D 3045 Hybrid Digital Amplifier Review appeared first on HomeTheaterHifi.com.

E.A.T. (European Audio Team) is an Austrian firm, located in Wilfersdorf, with manufacturing facilities in Eastern Europe. The CEO is Jozefína Lichtenegger. The C-Major turntable under review here is a new product, based upon the more expensive C-Sharp turntable. The compromises are a lighter weight platter, shorter tonearm, and manual speed control.

E.A.T started out making tubes and them branched out to make turntables. They are a very reputable manufacturer now, recognized for their fine designs.

The platter consists of two pieces, a sub-platter weighing 1.5 pounds and which receives the rubber belt, and an overlying main-platter weighing 4 pounds.

The plinth (base) is a mixture of MDF, polymer, and carbon, having low resonance.

The tonearm is 9” in length and is a combination of a Cardan horizontal bearing and a uni-pivot vertical bearing design, as compared to a gimbal pivot. The uni-pivot cup rests on a sharp-pointed bearing, such that there is minimum contact of metal-on-metal. This results in negligible friction when the tonearm moves vertically.

As with so many turntables these days, an aluminum “puck” is included, which helps hold the LP flush with the platter. This particular one has a knob on top that is used to tighten the grip of the puck on the turntable spindle.

The E.A.T. E-Glo Petit phono preamplifier is their latest entry in the preamp category. It is priced at an entry-level of $1,495.

The front panel has indicators for the Gain at 40 – 70 dB (I used a gain of 70 dB with the E.A.T. Jo No 5 phono cartridge) and Load Capacitance at 50 – 620 pF (I used 150 pF).

The top of the preamplifier has the selector switches. On the left is the Power switch. Above that is one of the resistance Loading dials. The other resistance Loading dial is to the right. Each dial has its own range of resistance values, and you select which dial is active by using the Impedance switch at the bottom at the left end of the row of switches (see photo below). I used the low resistance range of selections and chose 18 ohms (the recommended resistance loading for the E.A.T. Jo No 5 phono cartridge is 20 ohms).

To the right of the Impedance switch is the Capacitance loading switch which changes the LED on the front panel to indicate which capacitance loading you have selected. The Gain switch is next, which changes the gain among the six available gains settings, indicated by LEDs on the front panel. The Subsonic filter switch is last. I used the preamp with the Subsonic filter switch off, as explained later.

Here is a photo of the rear panel of the preamplifier. It has one set of stereo RCA inputs and one set of stereo RCA outputs. The DC wall wart power supply is 18 volts. There is also a ground terminal to which the ground wire from the turntable is attached. This is very important because the voltage from the cartridge is so low, ground hum interference would otherwise cause a big problem.

There are two 12AX7 dual triode tubes in the output stage and an FET solid state input stage, configured in cascode. A comparative schematic for this is shown below. The triodes are a different model, but the overall circuit should be similar. You can see that the plate output from one triode is connected to the grid of the second triode. This is characteristic of cascode (schematic Copyright Tubecad.com). The signal goes from the J-FET at the bottom center, to the cathode of the first triode in the center, then from the plate of the first triode to the grid of the second triode in the upper right.

At 15 grams, the cartridge is relatively heavy, so I used the extra counterbalance weight that is supplied with the C-Major turntable. At $1,295, it is not really entry-level, but it is not ultra-high priced either. I would say it is quite appropriate for a turntable in the $2K – $3K range, such as is the C-Major. The E-Glo Petit phono preamplifier is about right for this setup as well, so the overall package that was sent to me for review was excellently balanced.

The turntable is designed for those who want some advanced features but who don’t want to spend a fortune. The C-Sharp turntable was used as a model for the C-Major. The platter is lighter, and speed control change is manual rather than electronic. However, the tonearm is really something that would be seen on a more expensive turntable, so that is where E.A.T. put the money, although it is 1” shorter than the tonearm in the C-Sharp.

Here is a cutaway diagram of the entire turntable.

So, begin by attaching the three feet to the base of the plinth by screwing them into the sockets.

A dustcover is included, which is placed on two hinges at the rear of the plinth. It is best to wait until the turntable is assembled before attaching it.

Next, it is very important to first remove the three screws as indicated by the arrows in the photo below. Don’t remove the screws near the spindle socket at the center.

Mount the sub-platter and then attach the rubber belt to one of the motor pulleys and around the perimeter of the sub-platter.

There are two motor pulleys, one for 33-1/3 RPM (the top-most pulley) and one for 45 RPM (the bottom pulley). I attached the belt to the upper pulley (33-1/3 RPM) to start with (photo below). Note that the sub-platter should be mounted with the shorter spindle pointing upward. The longer spindle fits into the platter socket.

When changing platter speed, you remove the main platter and slide the belt onto the other pulley. You can either use your finger to do this (make sure your hands are clean) or the small tool that is supplied. Since this might be considered inconvenient by some users, you can simply listen to your 33-1/3 RPM vinyl LPs and then change to 45 RPM and listen to your 45 RPM vinyl LPs, or vice-versa. The advantage of manual speed control is that, over a period of years, the motor will probably last longer.

After choosing a platter speed with the belt placement, put the main platter on top of the sub-platter.

Using the supplied bubble-level on the surface of the main platter or on the surface of the plinth, level the turntable by adjusting (turning) the feet.

Next is the mounting of the cartridge. It is attached to the tonearm using two screws, and the conductors to the rear, color-coded as usual.

When attaching the cartridge, you don’t allow it to rest on the platter since the counterweight has not been attached yet. Leave it in the tonearm rest.

The counterweight has two pieces, with the second piece being used when the cartridge is relatively heavy, as is the Jo No 5 is (15 grams). It mounts at the rear of the main counterweight.

The counterweight is then screwed onto the rear of the tonearm and adjusted until the desired tracking force is obtained, using a tracking force gauge. I have a digital gauge, which is very desirable as it is precise. For the Jo No 5, I adjusted the tracking force to 2.35 grams. The counterweight is shown below at the rear of the tonearm.

Once the counterweight is attached, you mount the anti-skate mechanism, shown below. It consists of four parts. One is the main spindle permanently attached to the tonearm. You slide the mechanism with the thumb screw onto this spindle and tighten it when it is horizontal. Then, you put the circular mechanism (wheel) onto the end, with a weight on the end of a spindle that is attached to the wheel. The wheel remains loose so that it can rotate. Using the supplied nylon thread, which is attached at one end to the wheel, you pull the other end of the thread around the back end of the tonearm and slide it over the small rod pointed out by the arrow shown in the second photo below.

When playing an LP, there is a tendency for the stylus to move towards the center spindle because the grooves near the center are rotating at a lower linear velocity than grooves near the outer edge (the inner grooves are smaller diameter). This is what the anti-skate mechanism corrects.

So, the way the anti-skate mechanism works is that when the tonearm moves across the vinyl LP, the thread pulls on the wheel, which rotates, lifting the weight at the end. The weight serves as the anti-skate. Depending on the tracking force, you move the weight on the end of the wheel towards the end of the rod onto which it is mounted. Since the tracking force of the Jo No 5 is above 2 grams, I moved the weight out to the end of the rod.

The supplied cartridge, the E.A.T. Jo N^o 5, is an MC (Moving Coil) cartridge. What this means is that there are two small coils of wire at the top end of the cantilever (the “needle”) arranged at 900 from one another. When the stylus (the diamond tip at the bottom end of the cantilever) moves side-to-side (laterally) or top-to-bottom (vertically) in the LP groove, the coils at the top also move. They are situated in a permanent magnet’s magnetic field, so that when they (the coils) move, an electric current is generated in the coils, one for the left channel and one for the right. This current is fed to the phono preamplifier, which applies a “Post-Emphasis” (“De-Emphasis”) curve, called the RIAA.

Here is an inside view of a Dynavector XV-1 MC phono cartridge. You can see the stylus and cantilever at the bottom, and two copper coils at the upper end of the cantilever, each at 900 to the other, and 450 to the horizontal plane of the LP. A magnet is situated above each coil (image copyright Dynavector).

Basically, the RIAA post-emphasis curve boosts the low frequencies and attenuates (reduces) the high frequencies, before sending the phono pre-amplified output (1 volt) to the main preamplifier. When the LP was manufactured, a pre-emphasis RIAA curve was applied to the musical signal, attenuating the low frequencies and boosting the high frequencies. This is done so that the lateral distance in the groove is the same for all frequencies. If this were not done, the low frequencies would have a large lateral movement in the groove, and the high frequencies would have a very small lateral movement. This, in turn, would cause the stylus to jump out of the groove when loud bass occurred in the music. Secondly, because the lateral movement in the groove would vary a lot, the low frequencies would overlap between ^grooves.

The RIAA post-emphasis curve restores the original loudness level of all frequencies. The crossover point for the RIAA curve is 1 kHz, meaning that a 1 kHz musical signal is not boosted or attenuated.

The Jo N^o 5 has a nude fine line stylus (diamond tip). Here is a diagram of the various types of styli. The Jo N^o 5 is of the MicroLine variety (diagram copyright Audiokarma.org).

The surface area that contacts the groove is shown in the figure below. You can see that the Line Contact types have about 100 µm2 surface area contact compared to about 35 µm2 of the spherical and elliptical styli from decades ago (see the second row from the bottom, Row E). This means that modern phono cartridges produce a much more accurate sound from the vinyl groove than they used to do. (Diagram copyright Audio-Technica)

After the cartridge and counterweight are mounted, it is time to adjust the Vertical Tracking Angle (VTA). This is the angle of tilt, nose down or nose up, that the cartridge has when the stylus is in the record groove. It is accomplished by leveling the tonearm through loosening two screws at the rear of the tonearm, pointed out by arrows in the photo below, and moving the tonearm up or down until it is level with respect to the surface of an LP, shown in the second photo below.

The Horizontal Tracking Angle (HTA), also called the Lateral Tracking Angle, is the tangential angle of the stylus as it sits in a groove on the LP. The front of the cartridge needs to be parallel to a line from the center spindle to the outer edge of the LP. This is accomplished using a protractor guide. One comes with the turntable, but I would advise getting one that has a guide across the entire sweep of the tonearm rather than just two points. This will allow you to adjust the HTA for any part of the tonearm arc.

I used a plastic one shown in the photo below (about $12 from Amazon). It has a guide line across the entire tonearm arc and a mirrored surface so that you can see a reflection of the base of the cartridge for easier alignment (in this case, you can also see a reflection of my hands and my camera). Note that the cartridge is mounted offset quite a bit from the center of the mounting slots because the axis of the cartridge head is not tangential to the LP grooves, so it is important that you use a protractor to align the cartridge.

The Azimuth refers to having the cartridge not tilted to the left or right, i.e., when looking at the front of the cartridge, not having the left side closer or farther from the surface of the LP than the right side, and more specifically, the cantilever is vertical.

To do this on the C-Major turntable, you loosen a hex screw on the side of the tonearm, as shown below by the arrow.

When the screw is loose, you rotate the tonearm until the cartridge cantilever is vertical when resting on an LP. Note: raise the tonearm with one hand and rotate it with the other hand. Do not rotate the tonearm while the stylus is resting on the LP. Once it is vertical, tighten the hex screw (with the tonearm raised). The photo below shows the stylus and cantilever vertical to the surface of the LP.

The motor is turned on by use of a rocker switch beneath the front of the turntable. The turntable is connected to the phono preamplifier via a set of stereo RCA jacks and ground terminal beneath the rear of the plinth (photo below).

Besides the E.A.T. C-Major turntable, E.A.T. E-Glo Petit phono preamplifier, and E.A.T. Jo N^o 5 phono cartridge, I used a Balanced Audio Technology VK-5i Pure Class A Triode Preamplifier (Fully Balanced), Balanced Audio Technology VK-500 Solid State Stereo Power Amplifier (Fully Balanced) (250 Watts per Channel into 8 ohms), and Magnepan 20.7 Planar Magnetic Full-Range Speakers. Cables were Wireworld and Mogami.

Although the original studio master tapes were not available, Coltrane had a copy (his daughter found them), and those were used for the transcription. Perhaps it is not quite as good as it would have been if the studio masters had been available; but certainly Coltrane’s performance was not altered, and it shines on the E.A.T. turntable system I had here.

There is a realism on vinyl that just does not occur with digital. I am delighted we have such good analog equipment available now to get that feeling back that I had so many decades ago in my youth. In fact, it is much better, so I am truly enjoying myself.

So, it is a tribute not only to Art Pepper, but several other legendary musicians. It is a great album, and it sounds great on the E.A.T. system. Very clear and musical, with plenty of detail, for something that was recorded six decades ago.

One track on the album, So What, is a tune I hear over and over again from several jazz groups. I can see why it is so popular, because it is just one of those compositions that is perfect.

I am continually amazed at how good vinyl music sounds even when taken from recordings of so distant a past, and am thankful I have access to them, especially taking into account that current vinyl lathes are much better than they were back then, and certainly, vinyl reproduction kits, such as the E.A.T. reviewed here, are also much better than they used to be.

Track 1, Mars, the Bringer of War, is my favorite. It thunders from the LP on the E.A.T. system. The Jo No 5 cartridge does its job of staying in the groove, maintaining the flow of the marvelous, and very intense sound. The set was not completed and performed until 1919 in London, but Mars was completed in 1914, just before the outbreak of WWI.

It is beautifully conducted, played, and recorded. The E.A.T. kit made the recording shine in its full glory. I am sure glad that analog tapes of such masterpieces are now being remastered before the tapes become unusable. What is especially nice is that the recording studios are remastering only their best albums, so you don’t really have to worry about being disappointed in the music.

Let’s start with a 1 kHz sine wave, recorded at 0 dBu. The largest harmonic is the third, but the second is also significant. This gives the sound a little more “zip” than if the second harmonic were the largest.

I turned on the subsonic filter for this spectrum (below), which is also a 1 kHz sine wave at 0 dBu. The frequencies at 20 Hz and lower are rolled off. So, I left the subsonic filter off for the rest of the tests.

Using a 300 Hz sine wave recorded at + 15 dB, the E.A.T. Jo No 5 had no problems tracking the groove. In this case, the second-ordered harmonic was the largest.

The crosstalk (channel separation) test yielded a signal in the right channel that was 28.5 dBV (30.7 dBu) lower than the signal in the left channel (shown below). So, that represents a 30.7 dBu channel separation, which is excellent. Note that the largest harmonic is second-ordered, which is different than what happened when the signal was present in both channels, shown in the first spectrum above. Therefore, two tracks produced primarily odd-ordered distortion, while a track present in only one channel produced primarily even-ordered distortion in the tracked channel and also in the crosstalked channel.

Here is a spectrum with nothing playing (everything connected and powered on, but the stylus in the arm rest, not in a groove). It shows a low frequency noise range at 100 Hz and below, about 30 dB lower than what it is when a track is played. This is surface noise.

The Frequency Response is shown below. The test tracks are separated into two, one at 1 kHz up to 20 kHz, and the second at 1 kHz down to 20 Hz, with the latter being recorded at a higher level. It indicates a rising response between 1.5 kHz and 1.9 kHz as well as 12 kHz to 17 kHz, and an attenuated response between 4 kHz and 7 kHz. This gives the sound more midrange as well as some additional “presence”. The variability here is about 4 dB. Such variability is very common with phono cartridges and is what gives each cartridge design its own sound “personality”.

The 33-1/3 RPM Wow & Flutter test, below, shows some flutter at the extreme end of the spectrum which is outside the imaginary diagonal line that would be drawn from the peak down to the 3,050 Hz point and 3,250 Hz point, but it is because there is some speed variation (1/3 of 1% low, using the 33-1/3 RPM pulley). This speed variation is not significant, and I could not hear any evidence of the flutter.

At 45 RPM, there was also a slight speed variation (the 3,150 Hz test signal peak should be at 4,253 Hz because it is being played at 45 RPM). Because this happened at both speeds, I would suggest it is caused by a wall voltage lower than 120 V, which would lower the output voltage of the motor power supply. There appears to be less Wow & Flutter at 45 RPM than at 33-1/3 RPM.

I very much enjoyed my experience with the E.A.T GEAR. It is well made, sounds great – having excellent clarity, detail, and dynamics – and the three-part package is a good value.

The post E.A.T. C-Major Turntable, E.A.T. E-Glo Petit Phono Preamplifier, and E.A.T. Jo No 5 Phono Cartridge Review appeared first on HomeTheaterHifi.com.

• The Emotiva PA-1 is the FIRST Class-D amplifier I’ve heard that I could even remotely call “audiophile quality.”
• The PA-1 amp is the FIRST Class-D amplifier ever offered by Emotiva.
• The PA-1 amp is the FIRST Emotiva product that has NO active Emotiva circuitry in it at all.
• And the amp is the FIRST Emotiva monoblock amplifier to be offered at such an enticing price.

The Emotiva Stealth PA-1 Balanced Class-D Monoblock Power Amplifier is an exceptionally great amp, regardless of price, regardless of weight, and regardless of circuit configuration. Emotiva shoots themselves in the foot by even mentioning “studio” use in conjunction with this amplifier, although it is undeniably suitable for use in a studio. If anyone doubts that Class-D amplifiers are ready for audiophile prime-time, one listen to this amp should put them on the straight and narrow. This amplifier has it where it counts!

I’ve owned Class-D amps before, but they weren’t like the Emotiva Stealth PA-1 Balanced Class-D Monoblock Power Amplifiers.

• Emotiva A-100 integrated amplifier
• Emotiva BasX A-300 power amplifier
• Emotiva XPA generation 3 power amplifiers
• Emotiva XPA-1, generation 2 power amplifiers

On the advice of another audio reviewer (who shall remain nameless to protect the guilty), I once purchased several “pro” Class-D power amplifiers in succession from a major company in the pro-audio field. Although the amps were just adequate for home theater use, they failed miserably at providing the quality needed for critical home stereo listening. The Emotiva PA-1 amplifiers change that notion completely.

The Emotiva PA-1 needs to be heard without the prejudices of previous Class-D experience. This is NOT your rock bandmate’s Class-D! The Emotiva PA-1 amplifier, in many ways, rivals some of the better audiophile power amplifiers on the market, and at a fraction of their prices. This statement is bound to stir up harsh criticisms (mostly from those who have never even heard this amplifier) but read on before you dismiss my claims.

And let’s also get the specifications issues out of the way – Many will read the specs and dismiss this PA-1 amplifier outright because it doesn’t measure as well as a Bryston or a Cary. I contend that this would be a mistake. Although I believe Emotiva’s specifications, I also strongly believe that the PA-1 amplifiers surpass (and by a wide, wide margin) the performance that one might expect when simply reading the amplifier’s specifications. And so forward into the breach:

The Emotiva Stealth PA-1 Balanced Class-D Monoblock Power Amplifier is an Emotiva in name only. The circuitry consists of a Bang & Olufsen ICEpower ASC300 module in an Emotiva case. There is no active Emotiva circuitry inside. That said, the Emotiva PA-1 Balanced Class-D Monoblock Power Amplifier is the least-expensive amplifier that you can buy that uses this particular B&O amplifier module.

I had the opportunity to interview Mr. Dan Laufman, co-owner of Emotiva, about the design of the PA-1 amplifiers. Dan indicated that the raisons d’être for the PA-1 amplifiers included:

First, Dan thinks that the Danish Bang & Olufsen ICEpower ASC300 module is the very first affordable class-D amplifier that’s good enough for audiophile use. Until now, class-D amplifiers, with their switching power supplies, have been predominantly used for public-address and sound-reinforcement. The few units designed for audiophile use were and still are very expensive.

Commercial-grade class-D amps are popular for their light weight, ruggedness, and cool operating temperatures. But their sound quality is unsuitable for home audio when compared to conventional class A and A-B amplifiers. The new B&O ASC300 module has finally crossed the threshold to significantly better sound quality, and Laufman considers it a true breakthrough product at its modest price.

Second, Dan thinks that Class-D amplification is the future of home audio amplification. Dan mentioned that multi-channel AV-gear (where many of the channels are used only for effects) could be a prime opportunity to use smaller and lighter class-D amplifier modules.

Third, Dan mentioned that having an established business relationship with B&O may allow Emotiva to partner with them on the design of some specific future class-D amplification modules. Dan hopes to offer these future custom Emotiva/B&O modules in a variety of Emotiva products.

These tiny Emotiva PA-1 amplifiers weigh only three pounds each (that’s THREE POUNDS, I said…) and are approximately the size of a mid-sized paperback novel. This is about one tenth or less the weight of an amplifier of equivalent wattage with a traditional power supply. No more having to worry about the maximum weight limit of your equipment rack! There’s also no more worries about back sprains when having to move the amplifiers.

And because they run so cool, they can be either stacked, or installed in closed equipment cabinets without fear of significant heat buildup. This reduces the copious ventilation requirements that, for example, a class-A amplifier requires to avoid overheating. The cooler-running PA-1 offers yet another benefit – with less air passing through the amplifier to keep it cool, far less dust will be deposited on its heat sinks and circuit boards resulting in (theoretically) a far longer service life.

The amps offer fully-balanced circuitry with XLR input jacks or conventional unbalanced RCA connections via adapters (included in the amplifier box). Most of the time, I ran my amplifiers via the balanced inputs, but also used the unbalanced RCA connectors. I found no sound quality difference between the two.

When using the unbalanced RCA connectors, I discovered that my cable-box could be a source of hum, and Mr. Lonnie Vaughn of Emotiva was kind enough to inform me that a two-to-three prong plug adapter (available for 79 cents at Lowes or Home Depot) would immediately and very thoroughly solve the problem. Actually, Lonnie recommended just using pliers to cut the grounding plugs off the supplied power cords – the ground plugs on the PA-1 amplifiers are not required for safety grounding. With the grounds interrupted, the amplifiers were completely quiet. Even with my ears directly against the speaker drivers, I could hear no hiss, hum, or noise.

Note that if you’re using the PA-1’s balanced (XLR) input connectors, the amplifiers are dead silent despite the hum-inducing cable-box connection both with and without their power cables grounded.

I used the Emotiva PA-1 Balanced Class-D Monoblock Power Amplifiers in both “short interconnect / long speaker wire” and “long interconnect / short speaker wire” configurations. I heard no audible differences between the two. But since I had some short speaker stands in the closet doing nothing, I spent most of my review time with the PA-1s on stands immediately adjacent to the speakers with very short speaker wires (I liked the look).

Some attention needs to be paid to the Emotiva PA-1 amplifiers’ specifications. The total harmonic distortion (THD) seems high for a quality audio amplifier, but note that the distortion figures apply only at or near maximum output power. The average home listener uses less than one watt for “normal” listening and no more than about 10 watts for “really loud” listening, so the posted full-power THD figures for this amplifier are truly academic for home use.

The load rating also bears discussing. This is not the amplifier for driving ultra-low impedance loads (meaning less than 2.7Ω) to high volumes. Not only will distortion rise significantly, but the protection circuitry of the amplifier may trigger. This is not a worry for you unless your speakers meet any one of these three criteria:

• Extreme low impedance (typical of many electrostatic speakers)
• Extreme crossover complexity (larger and older Thiel loudspeakers are one example of speakers with complicated, multi-component crossovers)
• Extreme low sensitivity (some older speakers have sensitivities in the mid-eighty-decibel range for one watt at one meter) – but this is an issue ONLY if you have both inefficient speakers and want to play at very high volumes for long periods of time.

Almost all (certainly more than 99%) of speakers currently on the market in 2018 are free of all these impediments and will work absolutely perfectly with the Emotiva PA-1 amplifiers.

Most conventional audiophile class-A and A-B amplifiers are what I call “arc-welders.” They will play happily into any load including near-short-circuits. The PA-1s can play into any reasonable load, but they’ll sound their best with loads between 4 and 8Ω despite remaining stable into loads as low as 2.7Ω.

Note that I’ve used both my Thiel 1.6 loudspeakers (nominally 4Ω but with some brief dips below that impedance) and the Sonus-Faber Sonetto VIII loudspeakers (also rated as nominally 4Ω) in this review. Both sounded amazing with the Emotiva PA-1 balanced Class-D monoblock power amplifiers. And when I say amazing…

I listened to the Emotiva PA-1 Balanced Class-D Monoblock Power Amplifiers with a variety of music. In every case, the sound had a speed, depth, and dimensionality that is noticeably lacking with most amplifiers.

I had briefly loaned my review pair of PA-1 amps to my audio amigo, “Garbulky,” who tried them in lieu of his Emotiva XPA-1, Gen2 monoblocks. The XPA-1s are conventional Class-A/A-B amplifiers with huge power reserves. But despite the (much) better technical specifications of the XPA-1 amplifiers, the class-D PA-1 amps held their own on sound quality. Yes, there were some differences, but it would be hard to say that the XPA-1 (Emotiva’s previous flagship amplifier) was actually better.

Garbulky’s speakers are Axiom Audio M80 models, also rated for 4Ω. He is currently considering replacing his Emotiva XPA-1 amplifiers with a set of four Emotiva PA-1s used in a bi-amplified array. I consider that a ringing endorsement of the audio quality of these tiny amps.

There is one other observation that applies to these PA-1 amplifiers – their sound changes some when they’re warmed up. When cold, the amplifiers can exhibit a very slight touch of “class-D midrange emphasis,” but leave them on (their idling current of less than one third of a watt is trivial) and listen after they achieve thermal stability! The dynamics become slightly less prominent, but in exchange, you get a more three-dimensional soundstage and a more delicate treble.

Emotiva also sells rack mounts for their PA-1 amplifiers, in either one or two amps per plate configurations.

• Mac Mini with jRiver Media Center 24 software
• Emotiva Stealth DC-1 DAC/Preamplifier (in both balanced and unbalanced modes)
• Mytek Liberty DAC (in both balanced and unbalanced modes)
• Schiit Freya hybrid, balanced preamplifier (in both solid-state and tube modes)
• Emotiva BasX A-300 power amplifier
• ILP power amplifier (60 wpc / made in England)
• Arcam AVR5500 AV receiver
• Road Hog XLR cables
• Audioquest RCA cables
• Monster Cable in-wall speaker cable (2’ set only, unterminated)
• Thiel 1.6 loudspeakers (6.5” two-way)
• Sonus-Faber Sonetta VIII tower speakers
• ATC Acoustics room treatments

are suitably quirky and different, but “different” alone doesn’t always mean “better.” But THIS performance hits on all cylinders. The accompaniment stays out of the way and the background singers contribute to the impact of the song without becoming dominant or intrusive, while Morgan James’ facial expressions, body movements, and hand gestures emphasize the smoky feel of the song. In short, this is a masterful performance.

Through the Emotiva PA-1 amplifiers and the Sonus-Faber Sonetto speakers, her performance has delicacy, a clear sense of the boundaries of the recording venue, and clean power without distortion when the vocals demand it. In short, this just sounds REAL, despite YouTube offering significantly less than CD-quality audio.

I’ve played this cut through electronics that just sucked the life right out of the percussion, making it sound dull and muffled. But the PA-1 amps (bless their pointy little class-D hearts) take the prize for speed and openness with this clean, fast music.

Amplifiers with this level of speed and detail are highly unusual. The only other amplifiers that Garbulky and I have heard with these levels of definition are my custom-built 12-watt Heathkit tube monoblocks. Now the idea that a 12-watt tube amp could in any way compare with a state-of-the-art class-D monoblock is startling, but stranger things have happened (for example, once when I was young, Berma Sanchez actually kissed me). Who am I to blow against the wind?

Not only did the PA-1s sound beefy, they maintained tonality and poise while doing so. I’ve had some amplifiers that just provided loud mush when asked to play low frequency material at volume. But the Emotiva PA-1s show both speed and slam enough to make program material with low bass enjoyable again and again.

Do the Emotiva PA-1 amplifiers have ANY audible shortcomings? As good as their bass is, I’ve heard better, but seldomly. Now I will admit that my experience with these amplifiers could be the result of fortuitous circumstance, with speakers that particularly like the B&O factory voicing of the amplifiers.

After all, I only tried the amps with two pairs of speakers. But my audio amigo, Garbulky, also tried these amplifiers with his Axiom speakers and formed much the same impressions that I did (and before I’d given him any hint of my opinions on the amps). I guess that “only” 140 watts could be a limitation for those who want “theater-level” sound-pressure-levels for their home theaters, but for stereo listening, these amps are da schizz.

The EMOTIVA STEALTH PA-1 BALANCED CLASS-D MONOBLOCK AMPLIFIER breaks the barriers between Class-D technology and “audiophile” sound quality. For their price, buy yours NOW!

I’ll lay it on the line – In my opinion, this is the best-sounding amplifier that Emotiva currently sells. I’ve not heard their fully-differential XPA-1 Gen3 amps (Emotiva’s new flagships), but I like the sound of the PA-1 monoblocks better than the sound of the XPA-2 Gen3 amp or the Emotiva BasX A-300 stereo amp (both of which I owned and was highly familiar with at the time of this review).

Have I ever heard a better-sounding power amplifier than the Emotiva PA-1s? Maybe – I once owned a McIntosh MC352 that I thought was absolutely superb, but not having it here for a side-by-side comparison, I can’t honestly say which would be best.

Suffice it to say that I think the Emotiva PA-1 amplifiers are better than any others I have in my home and I’m strongly thinking about keeping them. Draw your own conclusions…

The post Emotiva PA-1 Balanced Class-D Power Amplifier Review appeared first on HomeTheaterHifi.com.

Anthem STR Duo, Front View

The Anthem STR preamplifier and power amplifier are singular and highly capable components that can form the nucleus of an exceptional stereo music system.

For the 2-channel audio enthusiast, the level of product innovation hasn’t changed very much over the last few years. Yes, technical specifications of the equipment we use have undoubtedly improved, but these advancements really are incremental at best. Beyond the advent of streaming music and new systems for efficiently digitally archiving and distributing our music collections across a network, the bulk of what comprises stereo audio effectively remains the same. A casual walk through any good audio show like Munich High End or RMAF proves my point. There is an abundance of all the components we are familiar with and need, speakers, amps, preamps, DACs, CD/media players and an astonishing number of turntables as of late. But outside of aesthetic differences and varying degrees of engineering application, the stuff doesn’t break much new ground.

The biggest issue in any music playback chain, outside of the source material that you listen to, is the listening room itself. No amount of money spent on equipment, or the amount of time spent on tweaking speaker positioning, will completely overcome a poor sounding listening environment. The solutions to this age-old vexing problem are the judicious use of room treatments and/or electronic speaker-room correction. Room EQ is available these days in even the lowliest AV receivers, but it is surprisingly scarce in good quality 2-channel audio equipment. Room EQ choices for stereo listeners have, until recently, been limited to affordable, DIY-based solutions from MiniDSP (incorporating DIRAC Live) or more expensive custom solutions from companies like DEQX or Bohmer Audio.

For this review, Anthem Electronics has provided us with their new STR 2-channel preamplifier and matching (beastly) stereo STR power amplifier. The defining feature of the STR preamplifier is the incorporation of a custom version of Anthem’s renowned ARC room correction system combined with complete digital bass management resources. This preamp can allow a user to configure up to a 2.2 channel audio system with either stereo or mono subwoofers. It also has a traditional suite of digital inputs, a high-quality phono section and a low-noise analog line stage with fully analog volume control. The STR power amplifier is a clean sounding, and more robust version of the amp section that is in Anthem’s STR integrated amp. While the STR preamp can be paired with any power amplifier one wants, Anthem sent along the STR power amp to create a perfect synergistic match. It most certainly looks the part!

Anthem STR Preamp, Front ¾ View

Anthem STR Power Amp, Front View

It goes without saying that these Anthem STR separates are some of the most stylish looking pieces of 2-channel gear that I have laid eyes on. Both components have a minimalist, gently sculpted aluminum faceplate that is dominated by a large TFT display. The overall build quality on both units is outstanding, with a solid weight, good material choices, and an appealing tactile feel to each component befitting of their elevated stature.

Anthem STR Duo, On My Audio Rack

A surprising menu feature that I came across relates to the phono input when you elect to have its signal converted to digital. Besides the ability to pick from 6 pre-RIAA EQ curves (a nod to collectors who own LPs made before RIAA standardization), a “User” option is also available which allows someone to configure their own custom phono EQ curve. In this mode, you are presented with three additional setting options: Bass Shelf, Bass Turnover and 10K De-Emphasis. By adjusting these parameters, a custom curve can be established so, theoretically one can create custom EQ profiles for multiple phono cartridges or LPs via DSP if you choose. If you decide to stay completely analog with your turntable’s output, then RIAA EQ is all you get. The level of tweak-ability afforded to the user is truly extensive.

As I mentioned earlier, the STR preamp will accommodate practically any 2-channel speaker configuration that you can come up with, from a simple pair of monitors or towers to a pair of speakers and a pair of subwoofers (in either mono or stereo configuration). As my reference stereo rig is a 2.2 channel affair that is normally managed with an analog active crossover, I was particularly keen to see how the STR preamp would handle my particular setup. Regardless of the speaker system is connected, the STR preamp uses a custom version of Anthem’s ARC room correction system to manage the speaker room interaction. Having used ARC in my home theater system for the past couple of years I have become familiar with how it works. As a system, it is pretty intuitive to use and, as of a recent update, it is able to correct speaker response from 20 Hz to 20 kHz if you choose.

The preamp has an Ethernet port on the back panel which allows ARC to communicate with the STR preamp over your home network, this is particularly handy when the unit is a distance from the seating area. The port also communicates with home automation systems as well. I was close enough to the equipment where I could plug the included extra-long USB cable from my Windows PC to the back of the preamp. The ARC microphone was also plugged into my PC when measurements were to be taken. Either way, ARC requires a computer to do the measurement, analysis, and uploading of the profiles to the preamp. Another alternative is to use the ARC Mobile App which is available for iOS and Android which allows you to run ARC from your smartphone. Robert Kozel did a detailed walk through of how to use the ARC Mobile App in his review of Anthem’s AVM-60 processor.

Anthem STR Preamp, Rear Panel

Speaking of the back panel of the STR preamp, it has two pairs of balanced XLR inputs and outputs, with a pair of each being dedicated for subwoofers. There is a similar array of unbalanced RCA outputs, numbering three pairs in total. There are four pairs of unbalanced RCA inputs. Two pairs of those can be programmed for HT Bypass use (the same applies to the four XLR inputs as well). The MM/MC phono input stage deserves some special mention. There is a dedicated pair of RCA inputs for both cartridge types. There are no adjustments for cartridge loadings, so you are fixed to the standard input settings of 100-Ohms for moving coil and 47K-Ohms / 270 pF for moving magnet cartridges. I would have liked to have seen a lower fixed capacitance setting as 270 pF might be a little high for some MM cartridges (after factoring in interconnect and tonearm wiring capacitance). Regardless, it is always advisable (if you can) to use phono interconnects with a capacitance rating as low as possible. Too high a level can unduly peak or retard the upper-end response of a given cartridge. On the digital side of things, there are a pair of coax digital inputs, a pair of Toslink digital inputs, a single AES/EBU digital input and an Asynchronous USB input as well. On the operations end, there is also a USB port for updates, a mini-USB port for connecting the computer performing ARC measurements, an RS-232 serial port for automation systems, and a couple of triggering jacks. Anthem supplies the standard ARC “kit” that ships with their MRX receivers and AVM60 pre/pro. The included remote control is a streamlined, all metal, affair that easily accesses all the features of the preamp and quickly becomes intuitive to use.

Anthem STR Preamp, Remote Control

Anthem STR Preamp, Internal View Top

Anthem STR Preamp, Internal ¾ View

Anthem STR Preamp, AK4456VN DAC Chip

Anthem STR Preamp, CS3308-CQZ Volume Control Chip

The quality construction continues on the inside of the STR preamp with well laid out board designs and neatly mounted components. For A/D and D/A duties, Anthem has chosen chips from AKM, specifically the AK5552VN (2 channel) ADC and the AK4456VN (6 channel) DAC respectively. The design also incorporates the AK4137EQ sample rate converter and an 8-channel analog volume control chip from Cirrus Logic, the CS3308-CQZ. These are all fine chip choices and are almost identical to what is used in Anthem’s AVM60 pre/pro and the MRX1120 receiver. However, as a premium audiophile component, I would have expected Anthem to have picked from AKM’s higher level chips or ESS’s new Sabre chips.

Anthem STR Amp, Interior View

Anthem STR Amp, Rear Panel

The STR power amplifier is a sight to behold both inside and out. Its exterior design and construction matches the quality and attention to detail of the STR preamp, just on a larger scale. The power amp’s 7-inch TFT display’s main party trick is to digitally simulate two huge ballistic VU meters. Who doesn’t love a pair of big VU meters on their power amps! The meters can be set to accurately show power into 8, 4 or 2-ohm loads as well as displaying current operating temperatures for each channel. The rear panel has both balanced and unbalanced inputs, a pair of robust 5-way binding posts per channel, a USB input for firmware updates, and a pair of trigger jacks with toggle switches to set their operation. Looking at the internals, it is a Class AB, dual mono design rated at 400, 600 and 800 (3 second burst) watts into 8, 4 and 2 ohms respectively, with both channels driven. The amp’s linear power supply starts with a pair of 600VA toroidal transformers, one per channel. Each channel has 32,800 uF worth of power capacitors and 16 output devices per side. The STR amp uses a cascoded complementary feedback input stage which, Anthem claims, creates a sound quality similar to Class A amplifier designs but with much greater operating efficiency. In place of rail fuses, Anthem uses advanced DSP to monitor the amplifier’s output conditions and help guard against high operating temperatures and other fault conditions.

On appearances alone, the STR amplifier certainly looks the part, and while I have no way to measure the amp’s actual output, I would be very surprised if it didn’t meet its rated specs handily based on the quality of construction and parts used.

Anthem STR Duo with Paradigm Persona 7F Speakers

Anthem STR Duo with BESL Monitors and Dual Subs

Connected source equipment included an OPPO BDP-105D universal player, a Technics SL1200 mk6 turntable (that has been modified by KAB Electroacoustics) equipped with an Audio-Technica OC9/MLII moving coil cartridge, and a Surface 3 Pro tablet (via USB) using J River Media Center 24 playback software. In terms of speakers, I alternated between a pair of Paradigm Persona 7F loudspeakers run full range, and my BESL (Bamberg Engineering Sound Lab) Series 2 MTM monitors crossed to my two DIY 15-inch sealed subwoofers (each in 4.5 cubic ft enclosures) for a 2.2 channel system. For both speaker configurations, the main speakers were 9 feet apart with the main listening position being 10.8 feet away. The subwoofers, when used, acted essentially as bass stands under my BESL monitors so they were both 10.6 feet from the listening position. The monitors were crossed over to the subs at 80 Hz. I used two Dayton Audio SA1000 subwoofer power amplifiers to run my subs when they were in play.

When running the ARC calibration for each speaker system, Anthem recommends a minimum of 5 measuring points, the first being at the main listening seat and the others made at least 2 feet away from the first measurement position. Anthem/Paradigm kindly dispatched their Central Regional Manager, Joey Perfito, to walk me through initial setup of the STR duo in my studio space. For my listening area, Joey recommended I make measurements at a 3-foot distance from the main seat. For our initial setup Joey felt that 5 total mic measurements would be sufficient for my needs. In later weeks I would make additional ARC runs with up to 8 total measurements with the results varying minimally from the initial establishing run. Be forewarned, the ARC calibration tones are loud, roughly 80+ dB in level. Once all the measurements are done, the system normalizes everything to the 75 dB range. For an in-depth look at how the ARC system works, please refer to our definitive Geeks Guide to ARC 2 and Super Geeks Guide to ARC 2 both put together by Dr. David Rich.

I’ve already made mention of the top-shelf build quality and unique design of these STR components. Simple things, like the weight of the units as you install them into your system or the smoothness and feel of the volume control as you dial it in, tell you that you are dealing with very special items that have been designed with care. The large TFT displays on both components make for outstanding readability and usability from across the room. It’s a stylistic concept that European manufacturers regularly use, and I saw a lot of it while at the Munich High End show. Anthem’s execution of the display interface is crisp, clear and logical, but feels decidedly like a different aesthetic altogether – a Canadian design language perhaps. The thing is, once you get used to the convenience of such displays, it’s hard to go back to gear with little dot-matrix readouts or nothing at all. I’m talking about you Marantz with your silly little porthole scheme!

Anthem ARC Default 5 kHz Results, Paradigm Persona 7F speakers

Anthem ARC 300 Hz Results, Paradigm Persona 7F speakers

ARC had effectively corrected the biggest problem area in the room (within its acoustic capability) and allowed me to extract the best performance possible out of an already stellar pair of speakers. The STR amplifier was a perfect match to the Persona 7Fs. It had no obvious sonic faults that I could pick up on and it maintained the revealing nature of the speakers without allowing them to sound ruthless. It also had a seemingly endless reservoir of drive that allowed the speakers to perform at their best, regardless of volume level.

As revealing as the Persona 7Fs are, I was curious to see if they would pick up any residual noise in the preamp. Well, either in full analog mode or with ARC and A/D signal conversion engaged, cranking the volume wide open, with no input signal, gave me nothing but silence. Only through the phono inputs was I able to get the slightest wisp of a noise floor at full volume, but I had to be practically kissing the speaker to hear it. Another interesting experiment involved setting up a series of phono inputs to compare and assess the sound quality of the STR preamp’s processing versus having none at all. One input was set up as a pure analog signal path, I configured another with just the A/D up-conversion, and then a third with A/D conversion and ARC enabled as well. I was able to independently adjust the gain of each input until they were all matched and then it was a simple matter to cycle through each of the three inputs, via remote, with an album playing and compare the sound between them. Note however that the pure analog signal path bypasses all bass management so any subwoofers you have in the system will be silent and your main speakers will operate at full range. It became quite clear after repeated listening that the A/D conversion and processing that Anthem was employing in the STR was as transparent as I have yet come across in a digital component. I didn’t think I would like the sound of vinyl converted to digital and I was sure there would be some inevitable loss of warmth or body in the process. But after weeks of listening, that preconceived notion was put squarely out of its misery and I found myself preferring to listen to my vinyl with ARC engaged. I was converted. The benefits of the advanced room correction were too great to not have, even when listening to moldy old vinyl. Sacrilege!

After a few weeks, I decided to switch gears and traded out the Paradigm floor standers for my usual 2.2 setup consisting of a pair of BESL Series 2 MTM monitors crossed over to a stereo pair of DIY 15-inch sealed subwoofers. The measurement procedure was the same as with the Personas, the only difference being my needing to tell ARC that there were 2 subs now in line and whether to treat them as a mono or stereo pair. My practice in the past has been having these subs operate as a stereo pair since their individual responses closely match, so I elected to continue that here.

As you can see, ARC defaults to achieving the flattest overall response up to 5 kHz while applying a modest level of 2.125 Room Gain. Things sounded good overall, but the bass was noticeably tamer than I wanted.

After “seasoning to taste” I brought the correction limit down to 400 Hz and bumped up the Room Gain to 4.5. Much better to my ears! The monitors maintained the imaging and liveliness that I liked about their sound but now the subwoofers were more seamlessly integrated into the whole. The extra tweak of Room Gain brought back that additional impact that made everything sound better. My subs now sounded cleaner with all the extension and power that my room would allow. It becomes much more fun for me to listen to something like the “Summer Presto” movement from Vivaldi’s The Four Seasons. Where I once felt just a sense of bass coming from cellos and the lower octave stringed instruments, I now have this churning wave of bass floor that that adds so much more depth and dimension to the performance. And it doesn’t sound thick, noisy or overwrought, it sounds tight, tangible and right where I want it to be. Within ARC’s controls, it’s very tempting to go crazy with the Room Gain setting, particularly when dialing in subs. ARC only allows a maximum Room Gain setting of 6 and maxing it out makes the bass sound muddy with music and just defeats the purpose. Finding that right balance where the desired bass level remains tight but impactful may take a little patience and extended listening to achieve.

There were times during my preliminary set up that I easily thought that the bass was where I wanted it to be, but a couple of days later it felt like it was too much, and I dialed it back. Anthem suggests that you take your time and listen to your newly calibrated system to become attuned to how everything sounds, and it is wise advice to heed. That being said, this is also about enjoying your music and your personal preferences play a part in that. So, don’t be afraid to experiment, just do it carefully. ARC may not give you the kind of granular control over the EQ curve that DIRAC LIVE or even Audyssey’s new Curve Editor App allow, but the available controls are plenty powerful, and the results do sound mighty sweet when you get things set just right. Again, the STR power amp could not have sounded better with my BESL monitors. These speakers present a consistent 4-ohm load and the STR amplifier just kept them well fed and cruising right along. There were a few times where I listened to vinyl in pure analog mode, which bypassed the subs and had these sealed monitors running full range. I was actually rather surprised at how much bass I was getting from the BESL’s twin 7-inch drivers alone. It wasn’t earth-shattering by any stretch, but it was more than I’d ever heard with other amps running these speakers without a crossover. This was definitely a tip-of-the-hat to the STR amp’s power reserves.

The following are a few notable musical selections that I felt showed off the Anthem STR duo during our time together:

Melody Gardot, My One and Only Thrill, CD

Listening to the opening track “Baby I’m a Fool” through the STR duo and the Persona 7F speakers made for a heavenly combination. The sheer detail and level of dynamics delivered by the STR preamp and amp were simply outstanding. Miss Gardot’s voice was rendered with a sweet, almost liquid quality that just drew me into the music, while the band with the background strings unfolded into this broad and deep musical image. ARC was performing its due diligence helping keep the acoustic bass lines sounding full yet articulate throughout the song. There are also these lovely little details like the sounds of her fingers moving across the guitar strings and the hollow tapping sound of her hand on the body of the guitar that this ensemble of gear just gets so right. Moving to the more R&B tinged “Who Will Comfort Me”, ARC once again delivers tight and meaty sounding acoustic bass lines through the Personas which, without acoustic correction, would otherwise sound peakier and more bloated in this room. And once again, Miss Gardot’s voice is just about perfectly imaged, dead center, with the very tasteful sounding horn section accenting her delivery with precision. The muted trumpet solo is particularly rich with character and detail. In listening to this system, if nothing else, one gets a proper appreciation of the synchronicity that is possible when electronics and speakers are ideally matched.

The Music of Batman, Silva Screen Records, CD

This helped make my BESL monitors sound as controlled and musical as I’ve ever heard them. A number of the tracks from the films prominently feature tympanis or bass drums being played with abandon. One track in particular, “Aggressive Expansion” from The Dark Knight, is a monster in this regard. Just after the opening 15 seconds, an intense barrage of bass drums establishes the underlying beat for the passage and my ARC corrected subwoofers were hitting commensurately hard. They were replicating not just the impact of the drum hits, which was significant, but the tightness and tonality of the drum skins were coming through clearly as well. As the track continues, an almost subterranean floor of bass transmits through the room and, normally, it would sound like more of an amorphous tone that would loudly resonate with the walls. With ARC in play, the room resonance is sharply reduced and the bass sound became more focused and melodic while retaining the desired impact. This is the sort of musical material that can just shine with a good subwoofer. Having two properly calibrated subs playing this stuff is just outstanding!

Elvis, Elvis Is Back, 45 RPM LP

I remember marveling at how good and lifelike “The King” sounded in that setting. It almost gave me shivers. Listening to Elvis’ rendition of “Fever” in my studio with the Anthem STR components brought me that same feeling again. Yes, there is a ton of artificial reverb in this track, but so what? The overall ambiance from the song was big and enveloping, the simple finger snaps that marked the beat just sounded crisp and were full of dimension, and the notes from the acoustic double-bass were deep and very tight sounding. “Soldier Boy” which is structured like a classic doo-wop tune comes out sounding very full, with significant depth to the presentation. Elvis’ voice is parked dead center and he gets to flex his range a little bit on this one. At no point did his voice sound unnatural or lacking at all. His backup singers, The Jordanaires, were imaged to the right and behind him, filling in the soundstage nicely but not overpowering the main man. Electric bass was suitably deep and punchy without any artificial bloat. While this wouldn’t be an overly demanding song for the Anthem’s STR duo, its playback with these components sounded especially well put together and was presented seamlessly across two speakers and two subs. Can’t ask for better than that! The STR preamp’s phono stage mated well with my Technics turntable and Audio-Technica OC9/ML II moving coil cartridge. I was able to adjust the MC Phono input level a touch and raise the gain by a few dB to get a good, noise-free, overall playback level.

Getz/Gilberto, Verve Records, DSD Files

Anthem’s STR duo did not disappoint. Right from the start of “The Girl from Ipanema” the preamp’s DAC latched on to the 2.8 MHz DSD bitstream without issue and played back the music splendidly over my 2.2 channel rig. The clarity of Joao Gilberto’s acoustic guitar playing in the right channel along with Stan Getz’s saxophone coming from the left was as good as I’ve ever heard it, perhaps better in some respects. And the close mic-ing of Gilberto’s vocals came across in a beautifully detailed presentation. Low distortion electronics and substantial power on tap no doubt have something to do with that. Astrud Gilberto’s famous, slightly haunting, vocals also come from the right but are placed further back, adding to the sense of depth. Acoustic bass sounded properly solid with plenty of weight, ARC doing its thing here to banish the acoustic bloat. On the track “O Grande Amor,” Stan Getz’s opening saxophone solo just floated right in front of me, replete with all the textural detail that I could ask for. Full of dynamics and without a hint of harshness. The rest of the track was a supportive and balanced concoction of piano, acoustic guitar, bass, and cymbals. Very smooth sounding but the details in each instrument were fully discernible and didn’t sound smeared in any way. As an operational note, I encountered none of the connection “hiccups” that can sometimes occur with DSD playback from a computer. The USB connection remained solid and stable throughout. No clicks or unexpected pops when switching tracks.

Gene Ammons, The Boss is Back! LP

His sax playing came across more detailed with a leaner sounding tone than what I previously heard on the Getz/ Gilberto album, but still with plenty of dimensionality and body to the sound. The Fender bass setting the pace through the track sounded impressively low and tight coming from a piece of vinyl birthed in the same year as I was. An organ weaves in an out with the bassline providing a very grooving foundation. Moving on to “Tasting the Jug”, the sound of the acoustic bass and congas are especially noteworthy. With ARC turned off, the bass got bloated and a little mushy sounding. The congas got a little leaner and lost some of the dimension to the sound of the skins. Engaging ARC sorted that out; the bass got solid and tighter sounding while keeping the desired depth. The congas sounded more like they should, with added weight returning to their sound. Everything else that fell above the ARC EQ cutoff sounded, subjectively, as close to identical between being in pure analog mode and converted to digital for processing. I couldn’t reliably tell a difference.

As you’ve no doubt surmised, I really like these Anthem STR separates. For 2-channel playback, I think the preamp has been carefully tuned and refined to be an incredibly effective front-end solution. It’s got a fantastic room correction system, effective and flexible bass management, very low noise, an overachieving phono section, a very good A/D and DAC section, tons of inputs, great looks and build quality and I can go on. The STR amp is about as good a 2-channel amplifier as you are likely to find for all practical purposes. It’s got low noise, plenty of transparency, scads of power reserve capability, impressive build and, by Odin’s beard, those huge meters are awesome! So, what’s the catch? I would have to say the price. Less so for the amplifier because comparable products from companies like ATI, Bryston and such are in that ballpark.

The preamp, on the other hand, has an MSRP that is $1000.00 more than the AVM60, for a 2-channel preamplifier that essentially has the same A-D and DAC section and no HDMI inputs. Yes, it is beautifully engineered, has a dynamite phono input and, realistically, I’m sure I probably wouldn’t hear a difference with better digital chips (you can tell in the measurements that Anthem has spent some time getting the best out of the silicon they are using), but I really wish this thing had an HDMI input so that I could directly pass a DSD bitstream over from my OPPO (or any other) HDMI equipped player. I may be in the minority, but I almost never use a USB input, it’s too impractical for me and I would gladly give it up for a properly implemented HDMI input. My nitpicking may sound a bit on the irrational side, but these are billed as audiophile components and, for the money spent, an audiophile looks for state-of-the-art, even if sometimes it’s only for bragging rights. But, back in the real world and with all my grousing aside, the STR preamp is an incredibly transparent piece of equipment and the ARC room correction is the linchpin. It allows me to extract the best performance and all the potential of any speaker and subwoofer combination that I could bring into this room. That alone makes it rather invaluable in my estimation.

When Carlo told me how much he had been enjoying the Anthem STR Preamplifier and STR Power Amplifier combination in his listening room, I became really curious to hear how the pair would sound in my existing home theater. Fortunately, Carlo and I live just a few hours away from each other, so after checking with Anthem, I picked up the STR gear from Carlo and eagerly looked forward to auditioning them in my home.

The STR Preamplifier provides Home Theater Bypass functionality for both the front left and right channels as well as two subwoofers. The connections to the STR Preamplifier can be made using either RCA or XLR inputs or a combination of the two which is what I used in my listening room. My reference home theater processor is the Anthem AVM 60. I connected the front left and right channels from the AVM 60 using the XLR inputs on the STR Preamplifier and I connected the two subwoofer channels using the RCA inputs. Using the Configure HT Bypass menu in the STR Preamplifier, I set the Fronts to use “XLR1” and the Subs to “RCA4”. This left the second XLR input on the STR Preamplifier available for connection to my Oppo UDP-205 4K UHD Blu-ray player which was also connected via HDMI to the AVM 60. The choice of connection type is a user preference, but I like to use balanced connections when available since they offer common mode noise rejection. I connected the STR Power Amplifier to the STR Preamplifier using balanced interconnects. The next step was to connect my front speakers, which are GoldenEar Technology Triton Reference, to the STR Power Amplifier. I connected the subwoofer outputs from the STR Preamplifier to the built-in subwoofers in the Triton Reference speakers. Once all the connections were made, I made sure to use the Level Calibration menu on both the STR Preamplifier and on the AVM 60 to make sure that I had properly connected each channel.

With the connections out of the way, the next thing to consider was room correction. I ran Anthem Room Correction (ARC) once using the STR Preamplifier for my front left and right and subwoofer channels. I then ran ARC again just for the AVM 60 home theater. In this configuration, the STR Preamplifier was in standby mode and the front channels and subwoofer inputs were seamlessly connected via relays in the STR Preamplifier to the AVM 60. This may sound like a lot of work, but it offers an amazing amount of flexibility in terms of configuration. For example, two subwoofers can be configured as a stereo pair using ARC in the STR Preamplifier, but they can only be configured as a mono signal on the AVM 60.

From an operational perspective, the one consideration was how to conveniently power on the STR Power Amplifier. While the amp supports 12-Volt trigger operation, there is unfortunately only one 12-Volt trigger on the AVM 60 and that was used to power on one of my theater amps. The simple answer was to configure the STR Power Amplifier to use Audio Detect Mode. Setting this option to “Yes” allows the amp to automatically turn on whenever a signal is detected. It automatically turns itself off once a signal is absent for a period of time.

With the configuration out of the way, I don’t think I was quite ready for how good this sounded in my system. The STR Power Amplifier made the Triton Reference speakers, which already were amazing in my room, sound breathtaking. This was the case when listening to both stereo through the STR Preamplifier and when listening to movies through the AVM 60. While I was always content with the sound using my McIntosh MC8207 seven-channel amplifier, introducing the Anthem STR Power Amplifier into the system to power the Triton Reference speakers was transformative. For example, in listening to Sir Colin Davis and the London Symphony Orchestra performance of “Holst: The Planets”, the separation of sounds between the horns and percussion was richly detailed. The attacking bass performance on the track “Mars” was palpable and precise thanks to the Triton Reference and Anthem Room Correction on the STR Preamp. The multi-layered sound of the orchestra was never fatiguing even when listening at higher volumes.

I was impressed with how the STR Preamplifier and STR Power Amplifier handled female voices. The nuances of the female harmonies on the track “Time” from the Delicate Balance album “Driftwood” were noticeable. The rich layers and sounds of the keyboard punctuating “Hey Nineteen” from the Steely Dan “Gaucho” album sounded wonderfully alive. The separation of instruments and amazing sense of detail in Howard Shore’s score “The Lord of the Rings: The Fellowship of the Ring – The Complete Recordings” has never sounded better in my room. The combination of the Triton Reference and STR gear enveloped my room in the sound of this magnificent score and revealed endless nuance that had previously gone unnoticed.

When listening to movies or television, I simply turned off the STR Preamplifier which puts the unit into standby and closes the relays to complete the Home Theater Bypass. The approach worked exceedingly well and I never experienced any type of lip-sync delay problems. I should also note that the Home Theater Bypass functionality can be used with any brand of home theater receiver or processor.

Carlo has already covered his listening impressions with the STR Preamplifier and STR Power Amplifier, and I don’t think I have anything else to add except to say that the impact on home theater soundtracks when paired with the AVM 60 is equally impressive. I hope Anthem comes up with multi-channel versions of the STR Power Amplifier sometime soon.

In terms of telling a difference between the AVM 60 and the STR Preamplifier when it comes to sound quality, I would be hard pressed to tell you that I could reliably pass a blind listening test in that regard. The sound quality was excellent whether listening from the AVM 60 or from the STR Preamplifier. I really enjoyed listening to the STR Preamplifier since it brought back fond memories of the Anthem Statement D2v 3D which was Anthem’s flagship A/V processor for many years. While the STR Preamplifier still includes technology like up-sampling of lower-resolution sources, the STR Preamplifier has eclipsed the D2v 3D with features like MM and MC phono inputs, asynchronous USB supporting 32-bit/384kHz PCM and DSD 2.8/5.6 MHz sources, pre-RIAA curves, and stereo bass management.

To Carlo’s point about the lack of HDMI inputs on the STR Preamplifier, I think it comes down to how you choose to connect sources to the STR Preamplifier. In my case, I didn’t need an HDMI input on the STR Preamplifier because I could make use of the inputs on the Oppo UDP-205. There is also the asynchronous USB input on the STR Preamplifier which supports DSD. It is also reassuring to know that the STR Preamplifier doesn’t have to be updated when the HDMI standard changes. While the STR Preamplifier is expensive at $3,999, combining it with the AVM 60 at $2,999 for a total of $6,998 is still far cheaper than the price of $9,499 for the original Anthem D2v 3D.

Benchmark audio tests were conducted on the RCA and XLR analog inputs and the SPDIF and USB digital inputs of the Anthem STR preamplifier. Various custom digital test tones were sent through the Anthem using an OPPO BDP-105D or a Microsoft Surface PRO 3 as the source and measured with SpectraPLUS audio measurement software via a LYNX TWO B professional sound card. Testing the RIAA tracking ability of the phono stage and overall frequency response of the preamp was done in a similar manner, but the test tones and sweeps were provided by the built-in signal generator within the SpectraPLUS software. Measurements taken at the unbalanced RCA outputs were performed at a 2 Volts RMS (6.02 dBV RMS) reference level while the balanced XLR outputs were measured at a 4 Volts RMS (12.04 dBV RMS) reference level. Unless otherwise stated, most measurements were taken from the balanced XLR outputs. I do not currently have the resources to bench test power amplifiers so the analysis on the STR power amplifier is strictly subjective.

1 kHz 16/44 Sine Wave at 0 dBFS SPDIF-In RCA-Out, 2 VRMS

Starting with the basics using the SPDIF digital input, a 16-bit/44 kHz, 1 kHz sine wave produces a THD+N of 0.001106% at 2 Volts measured at the RCA outputs. Overall response is clean with two very minor harmonics at 2 and 3 kHz registering at 100 dB below 2 VRMS.

1 kHz 16/44 Sine Wave at 0 dBFS SPDIF-In XLR-Out, 4 VRMS

Here, a 16-bit/44 kHz, 1 kHz sine wave produces a THD+N of 0.000812% at 4 Volts measured at the XLR outputs. Again, a clean response with two minor harmonics at 2 and 3 kHz registering at 94 and 97 dB below 4 VRMS respectively.

1 kHz 24/96 Sine Wave at 0 dBFS SPDIF-In XLR-Out, 4 VRMS

Using a 24-bit/96 kHz, 1 kHz sine wave produces a THD+N of 0.000645% at 4 Volts measured at the XLR outputs. Not much in the way of noise spurs but a few harmonics show up through the spectrum. The harmonics at 2 and 3 kHz registering again at 94 and 97 dB below 4 VRMS respectively.

1 kHz 24/192 Sine Wave at 0 dBFS SPDIF-In XLR-Out, 4 VRMS

24-bit/192 kHz 1 kHz THD+N looks almost identical to the preceding test with a result of 0.000639% at 4 VRMS. The noise and harmonics profile also appears identical to the 24/96 test.

19 & 20 kHz 24/96 Sine Wave at -5 dBFS SPDIF-In XLR-Out, 4 VRMS

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the SPDIF coax input with 24-bit/96 kHz sampling at 4 VRMS. We see some distortion spurs throughout the spectrum. There is a visible B-A peak at 1 kHz at over 100 dB below each test tone at 4 VRMS which is insignificant. The second harmonics at 38 kHz and 40 kHz are about 90 dB respectively below 4 VRMS.

1 kHz 16/44 Sine Wave at 0 dBFS USB-In XLR-Out, 4 VRMS

Switching to the USB input, a 16-bit/44 kHz, 1 kHz sine wave produces a THD+N of 0.000697% at 4 Volts measured at the XLR outputs. Again, a clean response with two minor harmonics at 2 and 3 kHz registering at 94 and 95 dB below 4 VRMS respectively.

1 kHz 24/96 Sine Wave at 0 dBFS USB-In XLR-Out, 4 VRMS

Using a 24-bit/96 kHz, 1 kHz sine wave produces a THD+N of 0.000654% at 4 Volts measured at the XLR outputs. A few harmonics show up throughout the spectrum, with the harmonics at 2 and 3 kHz registering again at 94 and 96 dB below 4 VRMS respectively.

1 kHz 24/192 Sine Wave at 0 dBFS USB-In XLR-Out, 4 VRMS

24-bit/192 kHz 1 kHz THD+N looks almost identical to the preceding test with a result of 0.000666% at 4 VRMS. The noise and harmonics profile also appears identical to the 24/96 test.

10 kHz 24/96 Sine Wave at 0 dBFS USB-In XLR-Out, 4 VRMS

At 10 kHz with a 24-bit/96 kHz sampling rate, the THD+N was 0.001241% at 4 VRMS. The second harmonic at 20 kHz is about 94 dB below 4 VRMS.

1 kHz 24/96 at 0 dBFS XLR-In XLR-Out Analog Direct, 4 VRMS

Moving now to examine pure analog performance via the XLR inputs, a 24-bit/96 kHz, 1 kHz sine wave produces a THD+N of 0.000737% at 4 Volts measured at the XLR outputs with all digital processing disabled. Minimal noise and a few harmonics show up throughout the spectrum, with the harmonics at 2 and 3 kHz registering again at 92 and 100 dB below 4 VRMS respectively.

1 kHz 24/96 at 0 dBFS XLR-In XLR-Out, A-D DSP On, 4 VRMS

Repeating the same test but, this time, allowing the STR preamp to convert the incoming analog signal to digital (no ARC) allows us to examine how the signal integrity is maintained before any room correction processing. Comparing these results to the previous Analog Direct results show minimal variation. The main differences being about a 3 dB higher noise floor and a slightly better distortion result for this test. In real terms, this difference would be inaudible.

1 kHz 24/192 at 0 dBFS XLR-In XLR-Out Analog Direct, 4 VRMS

Using an analog 24-bit/192 kHz, 1 kHz sine wave produces a THD+N of 0.000756% at 4 Volts measured at the XLR outputs with all digital processing disabled. We see an almost identical noise and harmonic profile to the 24/96 test.

1 kHz 24/192 at 0 dBFS XLR-In XLR-Out, A-D DSP On, 4 VRMS

As with the 24/96 test, converting the incoming analog signal to digital raises the overall noise floor by about 3 dB and actually improves the THD+N figure to 0.000566%. Once again, these are inaudible differences.

10 kHz 24/192 at 0 dBFS XLR-In XLR-Out, Analog Direct, 4 VRMS

At 10 kHz into the XLR input, THD+N was 0.001135%. The second harmonic at 20 kHz is about 90 dB below 4 VRMS.

10 kHz 24/192 at 0 dBFS XLR-In XLR-Out, A-D DSP On, 4 VRMS

Repeating the test with the digital conversion on, THD+N becomes 0.001476%. The second harmonic at 20 kHz is now at 92 dB below 4 VRMS and the noise floor rises by 3 dB again. The third harmonic rises a little and we see a couple of tiny sidebands show up around the 10 kHz fundamental.

20 kHz 24/192 at 0 dBFS XLR-In XLR-Out, Analog Direct, 4 VRMS

At 20 kHz into the XLR input, THD+N was 0.001785%. The second harmonic at 40 kHz is about 86 dB below 4 VRMS. There are some noise spurs out past 45 kHz but the loudest is at 100 dB below 4 VRMS. There also appear to be a pair of tiny sidebands around the fundamental.

20 kHz 24/192 at 0 dBFS XLR-In XLR-Out, A-D DSP On, 4 VRMS

Repeating the test with the digital conversion on, THD+N becomes 0.005785%. The second harmonic at 40 kHz is now at 86 dB below 4 VRMS and the noise floor rises by 3 dB again. The noise at 45 kHz rises by a hair and we see a few more small sidebands show up around the 20 kHz fundamental.

Anthem STR Preamp Frequency Response, Analog Direct

I measured the frequency response of the STR preamp out to 96 kHz. In analog direct, the response is flat until we see a very gradual 6 dB roll-off as we approach 90 kHz. The little dip past 20 kHz is an artifact of my measuring setup.

Anthem STR Preamp Frequency Response, A-D DSP On

We repeat the same frequency response sweep but now with the incoming signal converted from analog to digital by the STR. ARC remains off for this test. We see an identical response up to 60 kHz where a very gentle roll off just begins to start. We lose 3 dB by 80 kHz, another 5 dB by 90 kHz and then drops like a stone after that. In real life, these sweeps would sound identical. The STR preamp’s A-D conversion stage looks to be doing its job very well.

Anthem STR Preamp Frequency Response, A-D DSP and ARC On

One more sweep, this time with an ARC profile from the Paradigm Personas loaded up. Unlike some room correction systems in other AVRs that downsample to 48 kHz, we can see here that the ARC implementation in the STR is indeed processing at 192 kHz.

Anthem STR Preamp DAC Line Linearity

As I don’t have an instrument that automatically measures DAC linearity, I plotted this chart that is culled from a series of progressively lowered 24bit 1kHz tones. An ideal linearity measurement would show a perfectly diagonal line from 0 dB down to the DAC noise floor, indicating that measured DAC output level is identical to signal input level. As you can see the AKM AK4456VN DAC of the STR preamp starts to exhibit trace levels of linearity error before it hits its noise floor at -140 dBFS.

Anthem STR Preamp DAC Relative Linearity

This Relative Linearity chart allows us to examine the above-mentioned errors in a more exaggerated, and easy to see manner. Here we see that the STR preamp’s DAC exhibits minor levels of linearity error starting at -80 dBFS, becoming more noticeable at -120 dBFS and then turning more significant at -130 dBFS, before hitting the DAC noise floor at -140 dBFS. In real terms, these levels of linearity error would be inaudible.

RIAA Phono Playback EQ Target

This is a representation of the RIAA phono playback equalization curve, plotted onto a graph. Due to the physical limitations of the vinyl LP, during the mastering stage, bass frequencies are attenuated by up to 20 dB at the lowest end and treble frequencies boosted by up to 20 dB at the highest end, essentially the inverse of this plot. You can liken it to an early analog form of ZIP compression. This process allows grooves of any frequency to be cut adequately and fit on an LP master. Any phono preamp must administer this EQ curve (or decompression, referring to the ZIP analogy) to any signal coming in from a turntable in order for the music to be reproduced correctly. The closer a phono preamp can match this target curve, the more accurate the musical result.

Anthem STR RIAA Phono Playback EQ Results

Using the MM input and precise test tones generated by SpectraPLUS, I’ve plotted the left and right channel RIAA tracking response for the STR preamp’s phono section and overlaid them on the target plot. As you can see the phono performance is extremely good, tracking the RIAA target very closely. The 1 dB deviation at either end of the spectrum is due to a limitation of my test setup. As a self-contained solution on a preamp, this is outstanding performance.

STR Duo, Black, and White

If you have the means, it is hard to imagine needing anything other than these ANTHEM STR separates to command a 2-channel system of the highest possible quality.

The Anthem STR preamplifier and amplifier are every bit the statement 2-channel products that they are billed as. Individually, they are some of the very best sounding examples of their respective categories. Together, they comprise as seamless and powerful a playback chain as you are likely to find. The STR power amplifier is quite simply a handsome looking beast that should handily drive any speaker load that you can devise. It reeks of quality, both in build and of sound, plus those huge digital VU meters are the slickest looking thing I’ve seen on an audio product. The STR preamplifier is probably one of the more useful and compelling pieces of 2-channel audio equipment to come out in some time. It successfully takes all the essential analog and digital elements of a top-notch stereo front end and successfully mates them to the almost practical necessity of an advanced and flexible room correction system with proper bass management. While not technically perfect, in real-world terms it is almost an indispensable component for the modern-day audio enthusiast. Yes, it is not inexpensive, domestically designed and manufactured products like this almost never are, but it is a quality item and I imagine we will see more components like it arriving soon from other manufacturers.

I think more and more people are coming to the inevitable understanding that correcting the room makes a bigger and more noticeable sonic difference than higher bitrates, expensive cables, MQA or any of the other things that are more like “crumbs on the acoustic periphery”. On a side note to the fine folks at Anthem/Paradigm, I can easily see the STR preamp, with not too much modification, become the control center for a range of fully active speaker systems. Imagine, for example, a set of Paradigm Persona 7F speakers coming from the factory with no passive crossovers, everything about the speakers and their drivers could be profiled at the factory and loaded into the memory of a custom STR preamp that has three sets of balanced outputs corresponding to the Highs, Mids and Lows. Mate it all to amplifiers of your choice (or 3 STR amps if you like), set it up in your room and run ARC. You now have a complete, turnkey audio solution that should be as transparent and linear as one could hope to assemble. Just don’t forget the HDMI next time!

I would like to thank my colleagues Dr. David A. Rich and Robert Kozel for their invaluable assistance in this review.

The post Anthem STR Preamplifier and Power Amplifier Review appeared first on HomeTheaterHifi.com.

I think it is also a very good value when you consider everything that it offers. This amplifier has all the bases covered from high resolution digital to sumptuous yet accurate analog playback. It would serve indefinitely as the hub of a high quality playback system.

This is a review of a high end integrated amplifier. There are some people out there who may say calling an integrated amplifier “high end” is a misnomer. They can’t be high end if they aren’t separates, right? I do not agree. Some of the very best systems I have heard are based around integrated amplifiers. Integrated amplifiers are quite convenient in that they save space, money, and can provide performance qualities commensurate with separates. The first system I ever owned was based on an integrated amplifier and, by the way, I love integrated amplifiers.

One argument in favor of separates is that they allow for more upgrade paths. That is definitely true, but why worry if you can get an integrated amp that is a mature product from a high end company. I am talking about the Mark Levinson N^o 585.5 integrated amplifier, of course. This amplifier has plenty of power to drive every consumer speaker on the market in any sort of domestic environment I can imagine. So no need for more power than is already on tap.

Then they add in a superior quality DAC section along with a phono stage that is so good it could win awards as a stand-alone product any day of the week. All you need to do is add in a few source components and speakers to get to a system that rivals so many much more complex arrangements. This will get you to audio nirvana pretty fast and it’s why a product like the Mark Levinson N^o 585.5 is in fact an excellent value considering all you get; not the least of it being world-class performance.

I reviewed the N^o 585.5’s predecessor a few years ago. This was dubbed the N^o 585 and it shares many of the same design and build elements as the N^o 585.5. Here is a link back to that review which culminated in a 2015 Best of Award as voted by the Secrets of Home Theater and High Fidelity editorial staff:

This new integrated amplifier from Mark Levinson is in large measure predicated on the design of the much heralded Mark Levinson N^o 585 integrated that I reviewed for Secrets of Home Theater and High fidelity back in 2015. The N^o 585 proved to be so amazing that it earned our Best Digital High-End Integrated Amplifier award that year.

The new N^o 585.5 under review here offers two very significant upgrades over its predecessor. The most significant is the inclusion of a high end, fully configurable phono stage. And the other is in the area of the remote control. The new remote is a weighty, ergonomic piece of modern audio art.

Let’s discuss the phono stage first. According to Mark Levinson, “[the] Pure Phono stage is a discrete design with no op-amps and operates exclusively in Class A throughout, employing tantalum nitride thin-film resistors and polypropylene capacitors with exceptionally low tolerances.”

This is the same phono stage that first appeared in the Mark Levinson N^o 523 and N^o 526 preamplifiers. It is shielded and isolated inside its own case within the N^o 585.5 integrated amplifier. Of course, judging by the description above, this phono stage spares no expense in reference to its design, build, and the selection of parts that make up the entire package.

The phono stage is natively dual-mono with a symmetrical layout on the board. It offers three gain settings and 10 resistance matching choices for the MC loading. On the MM side of things, the N^o 585.5 is flexible enough to allow five input capacitance settings making this among the most flexible of all the built-in phono stages that I have reviewed.

The phono stage also features an infrasonic filter. This defeatable filter is a 2nd order filter at 15 Hz. It compensates for rumble and warped records. I left this on most of the time during the review and turned it off now and again to evaluate its effect. With good quality records, the filter didn’t have any audible effects on the sound. Warped records on the other hand benefited from its use. Filters like this protect your speakers and amp from inaudible noise so I left it on most of the time, irrespective of the record being played.

The other significant and noteworthy upgrade over the N^o 585 involves the remote control. This remote’s case is cast aluminum. It is designed to fit comfortably in an adult hand which means it is much larger (and weightier) than most. It also has a rubber-like strip on the bottom to prevent it from sliding off the arm of your easy chair on its way to the void between the cushions.

This remote appears to be sparse but, in conjunction with the unit’s front panel display, it has a big impact. You can use the remote to access the menu tree and make the whole range of adjustments available without getting up from the aforementioned easy chair.

In particular, this remote has three direct selection buttons that are a Godsend for any audiophile. The one I used the most was the balance control. Oh how I love a remote with a balance control! I used it almost every time I listened to the N^o 858.5. Channel balance can drift based on many factors such as your seated position, how your ears are working on any given day, and due to issues with any particular recording or playback device. The N^o 585.5 allowed fine adjustments of 0.1 dB. This makes it even that much easier to get the balance just right so everything would lock into place.

The second adjustment I liked to play with involved the polarity. You can directly toggle polarity from this remote. Changing the polarity made a subtle change to the sound and it was sometimes hard to decide if I preferred normal or inverted. But it was fun to have that control and I usually went with what felt right at any given moment.

The last direct-input button that was quite useful was the button that engaged/disengaged the Clari-Fi^® algorithm. This is a Mark Levinson exclusive system that enhances the musicality of compressed audio files. I used Clari-Fi® quite often when listening to mp3’s.

The remote also had full transport controls for play, pause, etc. for controlling USB sources.

So I’m finished discussing what are the major differences between the N^o 585.5 versus the N^o 585. More details about the remaining circuitry can be found by revisiting my earlier review of the N^o 585 here.

For convenience, I will go ahead and highlight some of the significant, common design features in each of the two amplifiers.

The power amp section is a fully-differential Class AB design with a single 900 VA power transformer with individual secondary windings for each channel. The signal paths are short and the heatsinks are mounted to the amp modules to promote efficient heat transfer.

The chassis utilizes a card-cage architecture not unlike what is seen in a computer tower or server. This offers many advantages but the most important cited by Mark Levinson is that it isolates the low-level analog and digital circuits from the power supplies and amplifier modules.

Each analog input is controlled by its own switching relay and all analog circuitry features discrete designs throughout. For example, the critical volume control is a discrete R2R ladder design with low-noise analog switches which offers excellent channel balance over time with low noise and wide bandwidth.

If desired, the built-in amps can be driven from a built-in 80 Hz high-pass filter for satellite speakers, while the pre outs can be run full range to drive a powered subwoofer for a proper 2.1 system setup.

The unit has a home theater bypass option so you can use it for home cinema applications, lending more flexibility to its design.

The unit’s “Precision Link DAC” centers on an ESS Sabre DAC. This 32-bit capable chip features proprietary jitter elimination circuitry and fully balanced, discrete I/V circuitry. This DAC forms the heart of the digital audio processing stage. The ESS Sabre DAC used here is widely regarded as the pinnacle of DACs on the market. The implementation accommodates DSD up to 5.6MHz and PCM signals up to 32 bits and 192KHz. The DAC chip operates from five dedicated power supplies, while the analog stages are powered from four more!

The unit features Ethernet control along with a 12V trigger and an IR repeater input in the rear of the unit.

Build quality-wise, this is a massive component that barely fit into my cabinet. It is heavy too. I think this amplifier could realistically offer a lifetime of trouble-free enjoyment to the consumer.

As I mentioned above, the N^o 585.5 is a large and heavy component. It required a certain amount of effort to get it out of the box and into the rack. I placed it on the lower shelf of a Salamander rack. The amp was physically deep such that the only way it would fit was to remove the back panel of my rack. So the feet rested on the shelf but the back part of the chassis protruded outwardly by a few inches.

I connected three source components to the N^o 585.5. The first source was the amazing Mark Levinson N^o 515 turntable that I recently reviewed. This table came with an Ortofon Cadenza Bronze cartridge that is a moving coil design.

The next source was a Windows-based laptop that was connected via USB. The third source was an Oppo BDP 83SE connected via S/PDIF. I use this player when setting up a two-channel system in the front of the room. This player developed the bug where the tray wouldn’t open so I had to return it to Oppo during the review period to have it serviced. As a consequence, this was the least used source during the review. And it would have been regardless, because the N^o 515 turntable was so good, I hardly stopped listening to it!!

I connected the speakers using gold-plated banana plugs on both ends because when you are a reviewer, banana plugs are the easiest way to switch out components and are therefor a productivity tool. I used several different speakers for this review, but mostly a pair of Technics SB-C700’s or a pair of GoldenEar Triton 5’s. I did use the line outs to drive a MartinLogan Dynamo 1600X powered sub for a time. I did this to test and evaluate the high pass crossover functionality of the N^o 585.5. It worked as advertised but I much prefer a straight two-channel set up for music so it was a relatively brief experiment.

As mentioned above, I have more detailed information in my review of the No585 but want to mention a few highlights here –

The remote does not have direct input selection which I like because you can rename the inputs and that is a better set up for the rest of my family who can’t always remember which input is which. The inputs are configurable in other ways, including offset to balance the gain among devices.

You have three choices for the PCM Filter. One has a steep roll-off, a second has a gradual roll-off, while the third, known as Mphas, is a minimum phase filter. Mark Levinson makes cursory recommendations on when to use each and then they go on to say that it all comes down to your personal preference. I preferred “slow” which was the mode that had the gradual roll-off.

The N^o 585.5 also has four selectable frequencies for the DSD filter: 47 kHz, 50 kHz, 60 kHz or 70 kHz. Again, this is selected based on personal preferences. I don’t listen to DSD files all that often but I did find that I preferred the 50 kHz setting the most out of these four.

As mentioned above, the N^o 585.5 includes Mark Levinson’s trademarked Clari-Fi^® circuitry that is used to reconstruct much of what is lost when audio files are compressed. I used this often and it has an intensity control that you can adjust. After trying out the different intensity settings, I wound up keeping it at the factory default.

As mentioned previously, the N^o 585.5 includes a very flexible phono stage. It’s great that it is all controlled via the front display. There is no need to open up the case and toggle dip switches. Nice. Besides all the available settings discussed above, the unit also had a balance offset for the phono stage. Typically one would ensure good channel balance by properly adjusting and calibrating their tonearm/cartridge but in some cases, certain phono rigs have a characteristic channel imbalance. This is where you can make a default setting that varies by up to +/- 3 dB in 0.1 dB steps.

The N^o 585.5 features flexible volume control functionality which includes volume limiter, start-up level, mute level, etc. One thing about this volume control is that it moved in 0.1 dB steps. It would move slowly at first and as you kept the button depressed, it would accelerate. I found it to be a little tricky to avoid sudden blasts of loud music. So I would up invoking “Mode 3” which functions as described by Mark Levinson, “[w]hen increasing the volume the volume changes quickly through the low volume range, and then decelerates in the higher range, for precision adjustments. When decreasing the volume the control works in the opposite fashion . . .”

The unit also had a range of power management settings that by and large help reduce power consumption when the unit was idling. You can also change display brightness and time out in this section of the menu tree.

There are also options to invoke the 80Hz high pass filter on the main channels for use when setting up a 2.1 system. You can also make the line outs fixed or turn off the internal amplifier.

I reviewed this amplifier in conjunction with the new Mark Levinson N^o 515 turntable. I just issued a rave review on the N^o 515. It’s the raviest review I have written in over ten years of reviewing high end audio. I couldn’t get enough of that turntable. I loved it. The fact is that much of the magic I enjoyed could be credited to the N^o 585.5 integrated. The N^o 585.5 amp and the N^o 515 table were kind of developed to be paired together and it was a match made in heaven!

In this situation the whole was indeed greater than the sum of the parts. I can’t think of a better launch point for someone wanting to get into vinyl. Or, if you are like me, you are a veteran who has listened to countless systems and you just want to take your personal musical enjoyment to the next level. Either way you approach this, Mark Levinson proves that very high quality sound reproduction at the pinnacle of what is possible is attainable in a simple to implement package that doesn’t cost any where near as much as you could spend on decidedly lesser brands.

What Mark Levinson gives you is quality design, implementation, and workmanship without skimping on the internals. If a relay is needed, put one even if it costs more than other options. If you can choose discrete components, select them even though the cost is more than integrated chips, etc. My point is that Mark Levinson doesn’t cut corners on their products and this is where they are a top value for you, the music lover.

Getting back to my experience with the N^o 585.5 integrated, I am reminded of my review of the No515 turntable. In that review, I stated how “honest” the bass response was. This was true on vinyl of course but it was apparently a family trait because I heard honest bass on digital music as well. So the N^o 585.5 was a co-conspirator in the excellent bass performance.

The strings had a natural air. The percussion had a metronomic but human timing and pace. This is Willie Nelson’s style, a pacing that is just enough “off” that you know it isn’t computer generated. So the N^o 585.5 communicated this musical style without undue editorialization.

This whole album came across as riveting when listening over the N^o 585.5. I really didn’t hear any weaknesses in the performance of the N^o 585.5. The sound filled the room and swirled around my head as if I were listening to ten speakers, not two. I am not sure how this happens. But there are certain systems that are processed by your brain as surround despite coming from two speakers. I think the trick is phase integrity; when all in-phase recorded sounds have that phasing preserved throughout the frequency range, then the sounds propagate into the room in a coherent fashion. Then your brain processes it as a broader musical tapestry. So the N^o 585.5 represented the convergence of bass, mid, treble, and soundstage thereby providing a ripe, holistic performance that was hard to walk away from.

Track 4, Les jeux d’eau à la Villa d’Este embodied all that I loved about the N^o 585.5: the delicacy, the pitch integrity, and the truthfulness to the source. It was as if the piano were right there in front of me. For piano, I evidence this through the system’s ability to clearly differentiate both the percussive and the melodic qualities of the piano. The N^o 585.5 really shone on this recording.

This movie slays me every time I watch it and tonight’s screening was no different. When evaluating a home cinema experience, I feel that voice intelligibility is paramount. Of course a highly accomplished product like the No585.5 isn’t plagued with the type of peaky response that is known to muddy vocal clarity so that part of the performance was a non-issue.

The N^o 585.5 is a very refined product and it wasn’t to be tripped up by any sophomoric test. But more than this, I was really amazed at how well the N^o 585.5 rendered all the rich tapestry of instruments, drums, and vocals in the live performances. The system painted a beautiful aural picture during the screening. It stepped aside and simply let the story unfold. This ability for the electronics to fully disappear meant that I could just kick back and enjoy the movie without distraction. I was drawn in. Simply put, it slayed me.

This is one of the most comprehensive and accomplished integrated amplifiers I have ever reviewed. It is designed and built to be the hub of a truly high-end system and should offer the owner a lifetime of musical enjoyment.

One major argument for separates versus integrated amps is that separates provide better isolation between the line level and speaker level signals. The other case for separates revolves around the power supplies being typically more robust and isolated among the various components.

I definitely get that, but the Mark Levinson N^o 585.5 overcomes these issues by physically shielding and isolating each of the more delicate circuits within. The card cage architecture furthers this isolation concept.

The N^o 585.5 also features individual power supplies parsed in a most logical way. Take for example the Precision Link DAC which features five dedicated power supplies for the DAC chip alone, while the analog stages are powered from four more dedicated power supplies. Mark Levinson has gone to great lengths to design a product that leverages the economy of an integrated amplifier but without compromising performance over what you would get in separates.

The pay off is an amazingly well executed product that can match up against anything anywhere near its price point. Even separates costing much more may not bring this level of overall satisfaction. And the N^o 585.5 is economical. Where else can you get so much performance for the price? Think about how much you would spend to get comparable performance – DAC, Phono Stage, Preamplifier, and a Power Amp. You would need to spend many times more money to get equivalent performance anywhere else. I am not sure you could eek out any better performance either. The Mark Levinson N^o 585.5 is a giant-killer.

The post Mark Levinson No 585.5 Integrated Amplifier Review appeared first on HomeTheaterHifi.com.

Audio Research as a company is half a century old, founded in 1970 by William Johnson. They are one of the pioneers in hi-fi equipment design.

A lot has changed over the decades, but one thing has not: High Quality.

The LS28 preamplifier, which is the subject of this review, is testimony to that statement. It is a stereo tube component, using four 6H30P dual triodes, biased into Pure Class A.

This preamplifier is far from what existed back in the day. It has the ability to name inputs, display the number of hours the tubes have been used, invert the signal, switch to mono, and other features.

The 6H30P is a (relatively) recent tube, having been imported from Russia. It is a very powerful dual triode, and the LS28 has four of them.

The front panel has a dial on the left hand side that selects the Input and a dial on the right that controls the Volume. Buttons at the bottom center, left to right, are for Power, Menu, Enter (for use with the Menu), Mono/Stereo, Invert (Phase), and Mute. There are two handles for use in sliding the unit in or out of a rack. A vacuum fluorescent display in the center indicates the status.

The LS28 uses four 6H30P dual triodes for signal gain. That’s four triodes for each channel. There is only one gain stage, however. It’s all in Pure Class A bias and with no negative feedback. All of this is to the signal’s advantage.

“Installing” the LS28 involves removing the cover and inserting the four tubes. They arrive packed in foam (see below).

Each tube is marked with one of the following labels: V1, V2, V3, or V4. The tubes are assigned a specific socket that is indicated in the user’s guide.

You need to be careful when inserting the tubes into the sockets. Line up the two pins that are separated by the most space as seen in the photo above. Then push the tube down into the socket firmly but gently.

The rubber rings (photo below) that surround the top of the tubes are called “dampers”. Tubes have microphonic characteristics, so are sensitive to sound vibrations. When sound in the listening room reaches the tubes, vibrations of the glass envelope reach the filaments, causing them to also vibrate. This vibration is converted into electrical signal. So, by placing the rubber dampers around the glass envelopes, the vibrations are reduced significantly.

There are four inputs, available as either balanced XLR (the four sets of inputs on the left side – see photo below) or single-ended RCA (the four sets of RCA jacks to the right of the balanced inputs). Besides two sets of XLR and RCA outputs (the jacks to the right of the RCA inputs), there is a set of XLR and RCA Record-Out jacks. The Record-Out is at full voltage (no volume control). There are also some connectors, such as RS232, for external control system use.

When powering on the LS28, it is muted and goes through a warm-up (“Start-Up”) period to heat the tubes. After that point, you need to push the Mute button on the front panel to go into normal operation. The warm-up takes about 45 seconds.

The left-hand rotary knob selects the input, while the right-hand knob adjusts the volume.

By pressing the Menu button, you can access the various features, such as balance between the two channels, display brightness, mono operation, inverting the signal, and determining the number of hours the tubes have been in use. The 6H30P tubes will last approximately 4,000 hours, after which they should be replaced.

You can change the names of the inputs if you wish and also set one of the inputs to unity gain if you want to pass-through the signal to a surround sound processor.

I tested the LS28 using an OPPO BDP-105 Universal Player, Balanced Audio Technology VK-500 Stereo Power Amplifier, and Magnepan 20.7 Planar Magnetic Full-Range Speakers. Cables were Mogami, Wireworld, Morrow Audio, and Raven Audio.

I used one of the balanced XLR inputs and balanced XLR outputs.

I am a big fan of Baroque classical music, and there is no composer that characterizes this period than J. S. Bach. His Brandenburg Concertos are an excellent example, having been recorded countless times by various orchestras and conductors. This particular one is with the Academy of St Martin-in-the-Fields, conducted by Neville Marriner (Philips B00005LKEJ).

Although Concerto No.1 in F, 1, Allegro might be the most recognizable, I like Concerto No. 3 in G, 3, Allegro the most because of its faster pace.

I moved the LS28 into one of my other listening rooms where there is a turntable (VPI-HR-X with Sumiko Blackbird Cartridge), Pass Labs Xs Phono Preamplifier, Pass Labs Xs 300 Power Amplifiers, and MartinLogan CLX Full-range Electrostatic Speakers.

With a 1 kHz input test signal and 2 volts output (tests were made using balanced XLR input and output with a 100 kOhm load except where noted), distortion was low at 0.008%. The second-ordered harmonic was the predominant distortion peak, and this gave a rich, warm character to the sound.

If the output is increased to 5 volts, the distortion rises to 0.026%, which is still respectable. The majority of the distortion consists of the second and third-ordered harmonics. A very small amount of IM (- 110 dBV) is also present.

Using 19 kHz and 20 kHz sine waves at 2 volts output, we see IM peaks at 18 kHz and 21 kHz, as well as a B-A peak at 1 kHz. There are also some peaks in the 37 kHz to 41 kHz range.

Increasing the output to 5 volts, the IM peaks also increase in amount, but it is still reasonable. Most of the time, only about 0.5 volt – 1 volt output would be needed to drive your power amplifier. Some high-powered amplifiers (e.g., 1,000 watts RMS) might require 5 volts to drive them to full output, but that would only be for short transients.

IMD at 2 volts output was 0.032%.

At 5 volts output, it was 0.132%.

THD+N vs. Frequency yields the following graph. It always stays below 0.08%. The two channels are slightly different, but that is just the way tubes behave. Because the tube is electro-mechanical (filament, grid, plate), and because the tube gets hot during use, performance is slightly variable from tube to tube. These small differences are only measurable on a spectrum analyzer. They are not audible.

THD+N vs. Output is shown below, with a load of 100 kOhms and 600 Ohms. The volume control was set to 55, which is about midway. You can see that, with a 100 kOhm load, distortion stays below 0.04% through 5 volts output. A 600 Ohm load is only for an academic exam. It does not have a practical value. We just want to see how the component performs under extreme stress, and the LS28 does fine.

Frequency response was down 0.2 dB at 20 kHz for a 2 Volt output, and down 0.9 dB for a 5 Volt output. The input was 2 Volts, and the volume control was at 41 and 68 for 2 Volts and 5 Volts output respectively.

The AUDIO RESEARCH LS28 PREAMPLIFIER is a fine product. It is beautifully constructed and has a warm, lush sound that tubes excel at. I have no reservations about recommending it highly.

The post Audio Research LS28 Triode Stereo Preamplifier Review appeared first on HomeTheaterHifi.com.

To get these benefits, however, more than casual component matching is required. In one way, this is a huge compliment. The VT80SE is transparent enough to easily let you hear differences in your front-end components, in your interconnects, and of course, in your speakers. Poor choices can make the amplifier sound ordinary, which it most certainly is not.

Over the years, I’ve owned a few Audio Research components including the D40 power amp, and one or two LS preamplifiers, but have only reviewed (not owned) the newest generation of power amplifiers, the VT80 and now this VT80SE. The Audio Research VT80SE power amplifier with KT150 output vacuum tubes does things that my previous Audio Research VT80 did not. Specifically, this amplifier has more soundstage bloom than I’ve previously heard from recent Audio Research components. Some may complain that this makes the amplifier inaccurate, but I’d beg to differ. Hearing an amplifier that can produce both a natural sound and a realistic soundstage is a real treat. The VT80SE accomplishes this.

• Original Audio Research VT80 Review
• Audio Research Trade-Up Program
• Audio Research VSI75 Review

Body of Product Review Article:

Oh, what a difference a tube makes! The original Audio Research VT80 power amplifier was supplied with KT120 output tubes; the new VT80SE runs KT150 outputs. And that, good friend, has made all the difference! The Audio Research VT80SE is what the non-SE version could have been, wanted to be, but just wasn’t quite.

During the review, I had the opportunity to ask a few questions of Audio Research. My questions and their replies are as follows:

1. What are the differences between the VT80SE and the original VT80?

The only change was that the height of the VT80SE internal circuit board was lowered slightly to compensate for the KT150 tubes being taller than the KT120 tubes they replaced. The tube bias did not change; all of the output tubes we have used for the last 30 years have been biased at 65mA.

2. What were the design goals for the VT80SE, and does Audio Research feel that they’ve been fully met?

The VT80 was designed to offer very high performance with worry-free operation. The VT80 circuit design was derived from our Reference 75 (an amplifier-of-the-year award winner), so it started with an excellent pedigree. The VT80 was the first Audio Research amplifier incorporating our own auto-bias circuit, designed in-house. The circuit maintains correct bias as the line voltage changes and the tubes age. Also, the output tubes are individually fused to prevent damage if a tube malfunctions: just replace the fuse. We want owners to simply enjoy their music without giving the operation a second thought. We feel these goals were successfully met.

3. Does Audio Research foresee future versions of the VT80 line, and if so, in what directions do you see the model going?

The VT80 is not a line, it is simply a model that is our best non-Reference amplifier. It became an SE when the demand for providing it with the KT150 output could no longer be ignored. It is possible that we will update the VT80SE in the future, but we are very pleased with its performance and there are no plans to change it for the foreseeable future.

4. The VT80SE is one of Audio Research’s “Foundation” components. How much difference exists between the Reference line and the Foundation one?

The Reference amplifiers offer higher performance that is clearly audible, as they should. They do not sound different, they improve what the VT80SE offers because they have even better parts, larger power supplies, etc.

5. In the highly competitive tube amplifier marketplace, what features does Audio Research feel set the VT80SE above the crowd?

There are many fine tube amplifiers on the market. We feel the VT80SE provides higher performance, top-to-bottom: better micro- and macro-dynamics, greater clarity, better focus and texture, a more three-dimensional soundstage, and better bass relative to the competition in its price range.

6. Does Audio Research recommend specific interconnects or speaker wires for the Foundations series? If so, which?

No, the choice of cables is too subjective. We use several different cables at the factory.

7. Does Audio Research consider any other components (preamps, interconnects, speaker wires, etc.) “not recommended” for use with the VT80SE? If so, what and why?

No, we try to offer products that are as “universal” as possible. This means, in the case of the VT80SE, that virtually any preamp (or source component with a volume control) can easily drive it. We also design it (and our other amplifiers) to drive an extremely wide variety of speakers: low (below 2 ohms) or high impedance, high or low efficiency, etc. (Everything from horns to Magneplanars to Wilson to Quads.)

8. What speakers did Audio Research use to voice the VT80SE?

At the time, we primarily designed it with Wilson, Sonus Faber, and Magneplanar (20.7) speakers. We also have one person listen to every single new (or service) component in a reference system before we ship it. Currently, we are using the Wilson Alexia Series 2 for that purpose.

9. If the budget for VT80SE manufacture had been slightly higher, what single feature would have been included?

We probably would offer it with a power meter.

10. As of now, what are the MSRPs for the VT80SE and the ventilated cover?

The VT80SE retails for $9,500 in the US. The ventilated cover retails for $475 in silver, $525 in black. (Very, very few owners in North America want to cover their tubes.)

FEATURES:

The performance and convenience features of the Audio Research VT80SE Tube Power Amplifier are:

A solid-state rectifier: In addition to being more efficient at converting AC to DC current, the solid-state power supply also offers less heat and lower series impedance. The solid-state rectifier won’t age as a rectifier tube would, and is, therefore, much more reliable.

A 30-second, auto-mute cycle at turn-on: This allows the circuitry to stabilize when the VT80SE is powered-up before allowing audio output.

A low-line-voltage sensor: This automatically mutes the amplifier should the house voltage drop below 95VAC.

An auto-bias circuit: As the output tubes’ electrical characteristics change over time, individual tube-bias may drift. This can degrade the sound of the amplifier. Audio Research’s auto-bias automatically monitors the tubes and adjusts the bias of each one to ensure that gain remains constant, and in balance with the other tubes. Most tubes must be manually re-biased on a periodic basis, but the VT80SE does this for you.

Microprocessor control: This switchable feature will automatically shut off the amplifier after a period of two hours. If you forget to turn off the amp, it shuts itself off, saving electricity and extending tube life.

Ventilated chassis: The chassis has ventilation holes around the tubes. This keeps them cooler and lengthens their service life.

12-volt trigger: You can use your preamplifier or processor to turn your VT80SE on and off by way of a trigger wire that controls the power switch.

Robust components: Unlike the majority of consumer audio equipment, the VT80SE sports a full complement of high-quality metal-film resistors and film-dielectric capacitors. The cheaper (and, in my opinion, lower-reliability, wider-tolerance, and worse-sounding) surface-mount components are mostly restricted to microprocessor support and non-signal-path applications.

Both unbalanced (RCA) and balanced (XLR) inputs: No matter what the flavor of your upstream equipment, the VT80SE is compatible.

Individual tube fuses: Should something go wrong with the amplifier (like you spill a beverage into the chassis through the ventilation holes, for example) or one tube spontaneously arcs, each output tube has its own individual fuse. This means that if one fails, the resulting voltages won’t damage any of the other tubes.

An “HOURS” display on the rear panel: This shows you how long your tubes have been in service, and answers the question, “Is it time to replace my tubes?”

Crestron compatibility: Some potential buyers use whole-house automation systems like Crestron. On the VT80SE, there is an RS-232 port on the back that is compatible with such equipment.

20-Ampere AC input: Should your house have a more robust 20-ampere electrical circuit, the VT80SE can use it (provided you buy a 20-amp electrical cord). The stock cord provided with the amp has a 15-amp grounded plug and a 20-amp socket at the amplifier input for maximum compatibility.

Design Differences:

Differences between the previous VT80 and this new “special edition” VT80SE are minimal. The printed circuit board has been lowered in the chassis to provide clearance for the taller KT150 output tubes below the tube cage, and that’s about it. The only substantial difference consists of absolutely nothing but the KT150 tube set. I didn’t think that simply changing output tubes could have such a big effect on the sound, but the bigger KT150s definitely open the soundstage up.

Unboxing and Setup:

The unboxing and setup of the VT80SE are so simple that a four-year-old could do it, except for the part where you pick it up, it weighs almost 46 pounds. The tubes are numbered to match their sockets, and since the tubes only go into the sockets one way, you can’t plug them in wrong. Further, the tubes are individually packed to avoid shipping damage, and the driver tubes come with vibration damper rings already installed.

Associated equipment used for this review:

• OPPO UDP-205 disc player, sometimes used as a streamer and DAC
• Audio Research DAC9 vacuum tube DAC
• Audio-GD HE-1 preamplifier
• JL Audio CR-2 electronic crossover
• Emotiva PA-1 solid-state mono-block amplifiers
• Klipsch RP600M bookshelf loudspeakers with stands
• Emotiva T2 tower loudspeakers
• JBL L100 Classic loudspeakers with stands
• 10” Subwoofers by Klipsch, Emotiva, and Velodyne
• Room treatments (absorbers and diffusers) by ATC Acoustics

With my Klipsch RP-600m bookshelf speakers –

Discs included:

• JS Bach Sonatas by the Boston Museum Trio (Centaur 2198)
• Muzio Clementi: Sonata in F Sharp Minor, Op. 25, No. 5 / Karol Szymanowski: Four Mazurkas, Op. 50 (Nos. 1-4), and Franz Schubert: Sonata in A Minor D. 959 by Gregory Sioles, piano (Centaur 2533)
• La belle violée – 17th Century French Lute Music by Jacques Gallot and others by Catherine Liddell, lute (Centaur 2359)

With the Klipsch-VT80SE combination, this amplifier reached the pinnacle of its performance in my living room. Relieved of the task of controlling the bass from 100Hz and lower, and removed from the challenge of providing large amounts of current to the speakers, the soundstage absolutely bloomed. Since the RP600m speakers are eight-ohm loads, the 8-ohm transformer taps of the VT80SE could be used. I liked the sound best from these taps. With this combination, I listened to a wide selection of most-excellently recorded music on the Centaur label (one of my favorites).

The thing that impressed me the most using this combination was the holographic soundstage. The performers sounded like they were truly in front of me, but my room had been transformed to a soundscape that must have been original to the recording. This Audio Research VT80SE plus Klipsch RP600M combo provided some of the best sound I’ve heard in my living room. The subwoofers handled the bass, of course, but the remainder of the frequency range (from 100Hz on up) was startlingly good.

With my Emotiva T2 tower speakers –

Discs included:

• Stravinsky – The Firebird Suite (1919 version), Borodin – Overture and Polovetsian Dances from Prince Igor by Robert Shaw and the Atlanta Symphony Orchestra and Chorus (Telarc CD-80039)
• The Who – Thirty Years of Maximum R&B (4-disc box set) – (MCA MCAD4-11020)
• Hank Williams, Jr. – The Bocephus Box Set – 1979-1999 (3-disc box set) – (Curb Records D2-77940)

The VT80SE had to provide full-range power and control into the Emotiva’s four-ohm load. Although the dual eight-inch ported drivers per speaker are relatively sensitive and don’t require much power to play loudly, their four-ohm impedance can challenge some amplifiers. With very little power needed from the VT80SE, the Emotiva speakers sounded more than loud enough and demonstrated a relatively wide and deep soundstage. The soundstage performance from the 4-ohm taps of the VT80SE was almost as good as the performance with the 8-ohm Klipsch speakers with subwoofers – so much so that I had to switch back and forth several times to establish a preference.

The bass response of the Emotiva T2 speakers and the Audio Research VT80SE was slightly on the light side, but this could be compensated for by speaker placement. If I moved the Emotiva towers back against the wall behind them, I could get enough bass response, but at the cost of some imaging. Often, speaker placement ends up being a compromise between bass and imaging, which is why I’ve always been skeptical of speakers with built-in subwoofers. But I digress – the Emotiva T2s did a more than adequate job of letting the VT80SE bloom.

With my review pair of the JBL L100 Classic speakers –

Discs included:

• Dukas – The Sorcerer’s Apprentice, Symphony in C, La Péri by Jesús López-Cobos and the Cincinnati Symphony Orchestra (Telarc CD/DSD CD-80515)
• Reiner conducts Tchaikovsky – Symphony No. 6, Op. 71 “Pathétique,” 1812 Overture / Franz Liszt – Mephisto Waltz – Chicago Symphony (RCA Victor “Living Stereo” 09026-61246-2)
• Itzhak Perlman – Great Romantic Concertos (Beethoven, Brahms, Bruch, Mendelssohn, Paganini, Tchaikovsky) – (EMI Classics – CDMC-7649222)

The VT80SE was tasked with controlling the 4-ohm, 12”-diameter ported woofer. Though the amplifier exhibited very good control and articulation with these larger drivers, the bass occasionally sounded more reserved in amplitude than with the other speaker combinations. The effect could be mostly eliminated through a judicious selection of room placement and midrange/treble adjustment, so I wouldn’t place too much blame on the Audio Research VT80SE amplifier. Nevertheless, the JBLs generally did better in the bass with the solid-state Emotiva PA-1 power amplifiers.

The JBL speakers, unlike the others used for this review, provide midrange and treble adjustment pots on the baffle board. This allows adjustment in the environment where the speaker is being used. In my room, and with the VT80SE, I got the best results with both the mid and treble pots slightly counterclockwise from their reference marks. To my ears, this provided the best and flattest sounding frequency response. The JBLs were also used on stands (unlike the Emotiva towers) that might have affected the bass response.

The AUDIO RESEARCH VT80SE TUBE POWER AMPLIFIER justifies its existence and $9500 cost with some clever tube rolling. The KT150s deliver a significant sonic improvement. Highly recommended!

If you’re an Audio Research fan, and if you’re in the market for a tubed power amplifier, do yourself the favor of auditioning the VT80SE. In my opinion, its durability, performance, and resale value all contribute to its excellence.

As always, prior to purchasing a component of this price, be sure to audition the VT80SE amplifier with your speakers, and preferably in the room where you’ll be using the equipment. Both speakers and room make a bigger sonic difference than the amplifier itself, but if you’re satisfied with your sound as it is, then the Audio Research VT80SE may well take your system to the next level.

I’ve always been skeptical whether tube rolling could make enough difference in audio gear to justify the cost. The Audio Research VT80SE has been the component to change that opinion. The original VT80 sounded quite good with its KT120 output tubes, but the KT150 tubes in this Special Edition version of the amplifier are, in my opinion, a HUGE step up in sound quality and more than justify the additional cost of the KT150 tube set. The KT150s provide dynamics and sound-staging that I just didn’t hear with the KT120s. The KT120s, on the other hand, seemed to have slightly stronger bass. The choice, for me, is simple – dynamics and sound-stage win every time! Want more bass? Get a subwoofer!

The post Audio Research VT80SE Tube Power Amplifier Review appeared first on HomeTheaterHifi.com.

Perhaps the most iconic looking audio gear for as long as I can ever remember, McIntosh simply exudes class, quality, and that “it” factor that’s very hard to achieve. They are undoubtedly a prestige and luxury brand, and one that this writer has wanted to own since I first started getting into high-end audio. Made in Binghamton, New York, McIntosh has been designing and manufacturing some of the absolute best audio gear for 70 years now. Think about that number for a moment…that’s a long time for any company, let alone one in a premium, niche market.

The new MC312 2-channel solid-state amplifier has enough power, finesse, and flexibility to serve as the heart of any hi-fi system. But will it be the perfect match for everybody?

Before I get into some of the details of the MC312 amplifier, let me take you back in time to my first encounter with the McIntosh brand. I was always into music and audio gear but had to watch from the sidelines so to speak because in the early days I was on the proverbial beer budget with Champagne tastes. I knew what I liked, and I knew what was “good”, but making purchases of any of that elite-level gear was simply out of the equation. I spent a lot of time going into audio stores for the chance to listen to gear that I had only read about in magazines. I was even fortunate to make a couple of business trips to Japan and spend some quality time in the famous high-end stores in the Akihabara district of Tokyo to sample their amazing systems.

While I really enjoyed listening to all of this gear, nothing completely grabbed my attention and made a lasting impression like McIntosh. I still remember walking into a room at a dealer in Florida, and seeing the glowing and dancing meters of monstrous monoblock McIntosh amplifiers. I was mesmerized by the looks and the sound and knew that I was in the presence of greatness. That one moment in time stands out so clearly to me for some reason, and I can picture it with so much detail that it could have been yesterday. That’s what a successful iconic brand can do, and nobody in this business, in my opinion, does it better than McIntosh.

As for the McIntosh MC312 2-channel solid-state amplifier, it’s the successor to their MC302 300-watt model. One of the key significant differences between the two is the 27% increase in dynamic headroom that the MC312 has over the MC302 (1.8dB to 2.3dB) thanks to a doubling in filter capacity. What this means is that it is better suited to handle large dynamic swings, and distortion and bass response also benefit from this increased filter capacity.

In the looks department, the MC312 now features direct LED backlighting for improved color accuracy. If you’re like me and want to see all of the amazing looking gear, then you’ll definitely love the updated looks of the glowing meters!

Other areas of improvements over the previous model include upgraded internal wiring and circuit components, eco-friendly power management features, and they now have both balanced and unbalanced outputs. This last feature can be used for bi-amping or tri-amping, or for adding subwoofers for those who don’t have available outputs on their pre-amplifiers. I found these balanced outputs to be very beneficial in my setup as I used them to hook up my 2 SVS SB-16 Ultra subwoofers for playback in my 2-channel setup.

Another great feature of the MC312 is the choice of 2, 4, or 8 Ohm binding posts, with their patented Solid Cinch connectors (perhaps my favorite binding posts ever!). Thanks to their Autoformer™ technology, 300 watts per channel are delivered regardless of whether your speakers have 2, 4, or 8 Ohm impedance. This provides a lot of flexibility and allows the MC312 to be a great fit for a wide range of speakers.

During my review period with the McIntosh MC312, I had the fortune of having a variety of speakers in the house to help with the evaluation, along with my normal selection of gear. I have put a lot of effort into finding synergy in my system, which really helps during the review process.

For those who have read some of my previous articles, you’ll know that I have a bit of a hybrid system combining a high-quality 2-channel system with my Dolby Atmos theater setup. The main speakers and amplification are shared between both systems, but the 2-channel system uses a dedicated pre-amplifier, while the theater uses a dedicated Dolby Processor.

The main amplifier that I have been using for the past couple of years has been a Pass Labs X350.8, which is a stellar amp, to say the least. It’s twice the price of the $7,000 McIntosh amp, and 50 watts more per channel output. It was going to be interesting to see how the two compared both in 2-channel and multi-channel listening.

The other components that were used during this evaluation period were as follows:

• Amplifiers: Pass Labs X350.8, Line Magnetic LM 845 Premium integrated amp, PS Audio Stellar S300
• Pre-amplifier: PS Audio BHK Signature Preamp
• Turntable: VPI Prime Signature
• Phono pre-amplifiers: Pass Labs XP-17, Sutherland Engineering 20/20
• Speakers: GoldenEar Technology Triton Reference, DeVore Fidelity Super Nine, DeVore Fidelity O/93
• Subwoofers: SVS SB-16 Ultra (x2)
• Cables: Mostly Cardas Audio Clear
• Rack: Massif Audio Design custom rack
• Power Conditioning: Audioquest Niagara 1000 (x2)
• Acoustical room treatments: Vicoustics

Before I get into details, let me first talk a little bit about my listening habits, and what I like. Why? Because if I fail to describe that, I could potentially lead you, my reader, down a path that may not fall in line with your listening habits. When reading any review, you need to remember that this is what I personally like, what my room sounds like, and what gear I have paired together. Your results may vary!

I have said this in other articles, but I want to say it again. I like a big and bold presentation to music. Whether you’re going to a rock concert, or a small club featuring live blues, you get hit in the face (and gut) with guitars and drums. It’s not an intimate or quiet event. You feel the music and you’re involved in the performance. Bands typically don’t play “soft”, neither does my listening room. I listen for enjoyment, and to experience dynamics, clarity, and detail. It’s all personal preference. So please keep that in mind while reading through my review(s) to ensure that you’re keeping it in context.

Now that I told you about how I like my music big and bold, let me tell you a bit about how the MC312 performed…at low levels! Sometimes I may sit in my listening room with the sound down lower when I’m working on something else (emails, research, etc). During these times I’m not actively listening or being critical, but rather enjoying a little background music. What struck me one day was the details and imaging I was catching despite the fact that my focus was elsewhere. Since it caught my interest, and particularly since I’ve hardly ever been happy with lower-level listening, I put down the computer just to listen. Was it possible that I was actually enjoying the music, despite the fact that it was turned down low? Was I imagining this simply because it was a new amplifier sitting in front of me that also happened to be luring me in by its beautiful glowing meters (I’ve always been a sucker for meters!)?

So after a short period of time, I picked the computer back up and started to take notes starting with the line: “For the first time, I find myself listening at lower volume levels, and really liking the presentation. Jazz, in particular, has been very good.” The MC312 was able to break through a barrier that had never happened before, so that made a huge impression.

Now when I listened to music at my normal volume levels, I was even more impressed with the MC312. I bounced around a lot between the GoldenEar Triton Reference, DeVore Fidelity Super 9’s, and the DeVore Fidelity 0/93’s. They’re all fantastic speakers, and they have their own areas of expertise. The Triton Reference plays well, “big and bold”, and are great all-around speakers. The Super 9’s are tremendous imaging speakers, and play a little subtler than the big Tritons. And the O/93’s are a very sensitive pair of 2-ways with a high level of dynamics and play extremely well in a near-field setting.

Even when cranking at ear-splitting volumes for extended periods of time, the McIntosh MC312 barely broke a sweat or generated heat. I could literally put my hand on top of the amplifier, and find it warm at best. The Pass Labs X350.8, on the other hand, would generate enough heat to warm the entire room. Now granted, all 3 sets of these speakers present a relatively easy load on an amplifier, but even when playing at high volumes, the meters barely registered 60 watts. So needless to say, there are a lot of reserves for huge dynamic swings on even demanding speakers.

When playing Roger Waters Amused to Death album through the Super 9’s, it was literally a spooky 3-dimensional presentation. Now granted, imaging is a strong suit of the new DeVore’s, but without good source components and amplification, you simply can’t achieve this level of depth, dimension, and detail. I’ve listened to this album in every format as many times as you can imagine but never had I come close to the pinpoint positioning of sound effects as I did with the MC312 in charge. When the hairs on your arms rise during a listening session, and you get a huge grin on your face, you know that (a) you’re having a tremendous amount of fun, and (b) you’re listening to true reference-quality equipment.

And when inserting the MC312 into my Dolby Atmos system, it didn’t matter what material I was throwing at it. Impactful action movies, concerts, or even multi-channel mixed music, the MC312 provided me with every bit of detail and dynamic swing that I desired and was used to.

I’m not going to make such a bold claim as a $7,000 amp being affordable or value, because it’s simply out of most people’s price range. But when you make it relative to other high-end offerings out there, it’s an absolute steal!

My $14,200 Pass Labs X350.8 amplifier is reference quality and can be the centerpiece of any system outside of the true esoteric setups. When I compare the McIntosh MC312 to it, however, I find that it equals the mighty Pass Labs in some areas, and surpasses it in others. It’s not a knock against the Pass by any means…I absolutely love Pass Labs gear. But it really shows how good of a job that McIntosh has done to create a world-class stereo amplifier for just $7,000.

During the evaluation period of a couple of months, I tried to find fault in the MC312, but I simply couldn’t. McIntosh has succeeded in engineering one of the finest stereo amplifiers for under $10k that you can purchase today. It is literally as much or more of an amplifier that one could ever want or need, and it may even be the last one that you’ll ever wish to buy!

The post McIntosh MC312 2-Channel Solid State Amplifier Review appeared first on HomeTheaterHifi.com.

Rated at 325 watts per channel into 8 ohms, its dual-mono design offers a separate dedicated power supply for each channel. It has more than enough headroom to drive the most demanding speakers while delivering premium sound quality to any audio system.

Legacy Audio has been a well-respected maker of some of the finest speakers since Bill Dudleston founded his company in 1983. I have had the opportunity to review the Studio HD and Silhouette speakers in my home and have visited with Bill at the Legacy HQ in Springfield, Illinois a few times over the years. When they decided to make an “ideal amplifier” for their speakers, they built both two-channel and four-channel Class D designs called Powerbloc2 and Powerbloc4. Today, I’ll be reviewing the Powerbloc2 Stereo Power Amplifier.

Having family living in Springfield, Illinois has afforded me the ability to drop in on the Legacy Audio headquarters on several occasions and the team there have always been gracious hosts. I have seen the manufacturing process for most of their speakers, from the CAD cutting tables for the cabinets to the assembly areas, the studio where they voice and tune the speakers, the shop with the sheets of exotic wood veneers and the guys who hand stain them. Then at the end of the tour, Bill took us into his music room, and we listen to tunes and enjoy swapping out speakers. One year I got to see his plans to build the Wavelet. Upon the next visit, I got to hear it in action. It came as no surprise to me that Bill would eventually make an amplifier that would make his speakers sing. It was a logical progression.

Class A is a musically sweet design, but very inefficient because much of its power is lost to heat. Class A/B gives you more muscle and those amps are usually big and heavy. Class D (with the ICE modules) offer an efficiency of greater than 90% and they run cool. Advances in their design now allow for extremely low distortion levels. Switching power supplies push distortion out of the range of human hearing. The Powerbloc2 has a THD of 0.005% at rated output and a TIM of 0.0045%. Dynamic range is a wide 117dB. I have listened to several Class D designs over the last few years and have been generally very impressed with their performance and musical finesse. See my review of the Lyngdorf SDA-2400 Amplifier for another fine example of the breed.

ICEpower is a powerful amplifier design that is stable under hard loads, offers low distortion, high efficiency (power goes into the music, not into the air as excess heat) and in the case of the Powerbloc2 design, lots of power with plenty of reserves. If your speakers are hard to drive or inefficient, the Powerbloc2 will be able to drive them with no trouble.

The front panel is made of thick milled aluminum and has a nifty blue logo that lights up when the unit is powered on. There is a master on/off switch on the back, and a switch on the front as well. On the back side, there are hand-soldered XLR balanced inputs and gold-plated RCA inputs. A single 12-volt trigger allows the Powerbloc2 to be powered on/off by a pre-amp or receiver. The power cord is detachable, should you desire to swap it out with a different one.

On the top of the unit are thin slots for air convection. There are no internal fans as they simply are not needed. This keeps internal dust build-up to a minimum. The top is made of a thicker-than-average grade of aluminum which adds to the quality feel of the amplifier.

Just holding the Powerbloc2 in your hands, you’ll be impressed with the construction and the quality of the unit. The Class D design also allows for the amplifier’s light weight of just 13 pounds. What would a 325-watt A/B design weigh? I own a 125-watt, seven-channel amp now that is a back-breaking 70+ pounds!

That’s a major advantage of Class D, it affords a compact and lightweight chassis. Because they don’t need space for air circulation, they can be placed into tighter spaces or inside a closed audio cabinet. After hours of playing music and movies, the top of the Powerbloc2 barely felt warm.

For my review, I ran unbalanced inputs (XLR on one end, RCA on the other end) from my Emotiva UMC 200 pre/pro to the Powerbloc2. My speaker cables were Zu Audio Julians (8ft pair) to my Revel F38s. I also got to pair the Powerbloc2 with a brand-new McIntosh C49 preamplifier (a review of this unit is forthcoming). I listened to all music with no EQ, room correction or the benefit of extra low end from a subwoofer.

Now, during my course of musical evaluating, I listened to 70’s rock, classical orchestra, male & female vocalists, New Age to Jazz and the Powerbloc2 sounded amazingly clean and articulate. The bass was noticeably punchier than my current Class A/B amp and the soundstage was well balanced from both left to right and front to back. This is no small thing as I have recently moved to a new place and my intimate music space has roughly doubled in size. I’m still adjusting and experimenting with my new digs and still playing with absorption and diffusion throughout the room. I like being able to crank the volume to 11 sometimes (when no one else is at home), and I like the sound of the extra room.

As destiny would have it, I was in possession of a music test disc that was authored by Mr. Dudleston himself. Last time I visited the shop, he gave me a copy of a disc he burned at a show in Toronto from 2014. If these tracks were good enough to demo the sound quality of his speakers, they should be equally adept at showing off the sonic prowess of the Powerbloc2. There are over 16 tracks on the disc, and I will only comment on a few of the standouts (I think they all sounded great, but not all genres were my cup of tea).

First up was Loneliness House by Greg Brown; a delicious blend of blues with a thumping, driving beat. Brown’s voice has a nice mid-range that reminds me of a smoky bar from The Big Easy. The bass was solid with interspersed acoustic and electric guitars that spread out across the front of my room. Everything sounded laid back and natural. Considering I was not using any EQ, my speakers pumped out bass with authority. It was not loose or tubby but had an impact that you could feel gently, deep in the pit of your stomach.

Next, I listened to Nils Lofgren on acoustic guitar playing Keith Don’t Go (Ode to the Glimmer Twin) to a live audience. Wow! His playing is amazing. The close mic made it seem as though he was playing just a few feet in front of me. I was struck with how real it sounded. Every nuance of his strumming was laid bare, every scrape or thump on the guitar body was easily heard. This made me want to see a live performance of him playing. The sense of the venue’s large room was palpable.

Christian McBride is a jazz double bassist that showcased his skills in Night Train. The deep notes resonated, vibrated and skipped back and forth with ease. Even the decay of the vibrations had a natural feel to them. Acoustic instruments are a great way to evaluate sound on a speaker and in this case, the degree of control from the Powerbloc 2. Not only for the loudest passages, but also the quiet nuanced sections as well.

Girl in the Red Dress by Gregg Karukas is that late-night jazz piece with a punchy bass line and a tinkling piano overlay. The drums have both punch and snap. The sound stage is both very wide and deep. I could listen to this music with the lights out on a rainy night and be deeply satisfied by the time I called it a night and went to bed. From the tinkling of the chimes and driving bass guitar, the sound was marvelous. Because of the huge power reserves of the Powerbloc2, you could really pump up the volume and it just sounded more “live”. What a fine jazz ensemble demo piece!

Sweet Emotion by Aerosmith starts with a startlingly loud thunderclap. Did the Powerbloc2 care? Not at all. I am not a big fan of these guys, but their music is pretty catchy and foot tappingly good sometimes. I noticed a nice sense of space around my Revels. Next, the late Stevie Ray Vaughn played some of Tin Pan Alley (Roughest Place in Town). Here is another master guitarist that is so well recorded, you wonder why you haven’t sought out his music before. His guitar duetted with his rough voice, all while the bass line carried the two along in its loving arms.

Alright, time to skip through some tracks and comment on a few of my favorite tracks: Amazing Grace, sung by a tremendous baritone named Wintley Phipps. Even with a full orchestral arrangement, his voice pierces through and hits your soul. He has such depth and range and it was beautifully captured in this recording. The Powerbloc2 had no trouble with either the subtle sounds of the opening or the incredibly dynamic crescendo of the climactic finish. If I weren’t so manly, this music could make me cry from the sheer beauty of this gentleman’s voice. I noticed in between tracks that my speakers fell into complete silence. Class D amps are ON when the music plays and complete OFF when there is no signal. No hiss whatsoever!

Finishing up and skipping through some wonderful tunes, I closed with a real speaker buster; the recently deceased artistic genius of Jean Guillou playing Gnomus from Moussorgsky’s Pictures at an Exhibition on the pipe organ. The range of the deepest pedal note is felt in the gut as well as heard. I was impressed by the Powerbloc2’s ability to deliver tight deep bass. The ambiance of the venue the organ was placed in came through with some good reverberation time. The decay of the reverb was natural and demonstrated the complete control over the Revels. If there was a sonic chink in the armor of the Powerbloc2, I could not get it to reveal itself. All styles and genres sounded superb with the Powerbloc2.

The silence between soundtracks was as black as could be. Even with my ear up to the tweeters, I heard no hiss. Deep bass and sweet highs with silence in between songs is exactly what you want in both the speaker and the amplifier.

If you can’t afford a Legacy speaker system, perhaps a LEGACY POWERBLOC2 can make your current speakers sound their very best. Clean, dynamic power is achieved with a Class D amplifier that is built to last for a very long time.

I enjoyed listening to my music with the Legacy Powerbloc2. It had finesse and muscle, imaging was excellent, and it had complete control of my speakers, allowing me to hear what they can do without the need for EQ or a subwoofer. Because ICEpower runs cool, thermal shock and heat are eliminated which should add years of life to this well-built dynamo. And there are no fans to pull in dust. If you need power in a tight space, the Powerbloc2 can easily fill a cozy spot in an equipment rack with less ventilation space than a Class A/B amp would need.

An amplifier is an investment. For the price, I would consider the Legacy Powerbloc2 to be a good value considering the power, sound, and construction of the amplifier. If you are in the market for a two-channel sound system and you want these qualities in your sound system, give the Legacy Powerbloc2 a closer look and listen. Your speakers will thank you.

The post Legacy Powerbloc2 Stereo Amplifier Review appeared first on HomeTheaterHifi.com.

He sells them in mono and stereo configurations, in addition to three-, five-, and seven-channel amplifiers for home theater or professional sound applications. The D-Sonic amplifiers are modular, so Deacon can build a custom amplifier for you with any combination of one to seven channels with power from 400 to 1500 watts per channel.

Class D has hit its stride.

Here’s a quick history lesson, to demonstrate just how far the audio industry has come in the last four decades. The Grateful Dead’s “Wall of Sound” from 1974 comprised 48 Mcintosh MC2300 amplifiers to deliver 26,000 watts of power. Each one of those amps weighed 128 pounds and cost $1800. So the McIntosh solution cost about $86,400 and weighed 6,144 pounds, roughly.

With D-Sonic’s solution, to get that much power with D-Sonic amplifiers you’d need only three seven-channel amps making 1,500 watts per channel for $4300 each, and those amps would weigh 56 pounds each; less than a third of a single MC2300. The overall D-Sonic solution for that much power costs $12,900 and weighs only 168 pounds. I think that’s an amazing technological advance. And in terms of cost-to-watt ratio, it’s amazing. And that’s not even taking into consideration the power consumption costs or the manpower to move all that equipment.

So here’s another history lesson. Back in the early 1990s, analog loyalist and Linn enthusiast Neil Young described listening to a CD as “ice cubes washing over you.” Over the years I have heard CD players and MP3 players that meet that description. And just recently I have heard other Class D amplifiers that also meet that description. And it’s fair to assume that a lot of sound reproduction enthusiasts tend to assume that digital sound will be cold and lifeless. A lot of my experience has proven that to be true, so even most contemporary components which use some sort of digital conversion in the audio path (DACs and amplifiers in particular) have a lot of prejudice to work against.

I am guilty of that prejudice. For the past twenty years, I have built a system around tube amplifiers built in the late 1960s and solid-state amplifiers built in the late 1970s. I am accustomed to the warm punchy sound from the solid-state amps and warm detailed midrange from the tube amplifiers. But the most power any of my amps produce is fifty watts, so what I am not used to is an amplifier having a firm grip on a woofer or producing effortless dynamics. I would like to have much, much more power to drive my speakers and have much more on tap for dynamics than I have now, but that would require tube amplifiers that command very high prices.

But I think the technology and engineering required for amplifier design and manufacturing to produce that kind of power has finally reached a point of affordability. Case in point: Dennis’s D-Sonic amplifiers. The M3a-600M amplifiers delivered all of that and more for me, and their selling price is affordable (and surprising, considering what they deliver). The M3a-600M mono amplifiers delivered fast, detailed, and seemingly limitless sound out of my system without a hint of digital harshness. No ice cube showers, no “digititis”, and no fatiguing harshness. I listened to them for days on end without ever wanting to change anything about them or getting tired of their sound.

But if you don’t believe me, you can try them out yourself. D-Sonic offers a 30-day trial period (which can even be extended, at Deacon’s discretion). If you don’t like them, just send them back and pay a 10% restocking fee (shipping is on you, both to and from).

Dennis provides a document describing the specifications of his amplifiers in great detail here: https://www.d-sonic.com/content/D-Sonic%20Data%20Sheet.pdf

The D-Sonic M3a-600M amplifier is enclosed in a rugged 14-gauge steel chassis with a black powder coat finish. The faceplate of the amplifier is aluminum billet with a brushed anodized black finish. The brand’s logo is etched into the face of the amplifier and highlighted with warm gold paint. Directly below the company logo is blue LED power indicator light. Think of this as the signature look of D-Sonic. It is an understated and strong look, giving the amps an industrial look and the impression that they will stay strong for a very long time.

The D-Sonic M3a-600M amplifiers feature bullet-proof protection circuitry. The amplifier and your system are safe from shorting, over/under current conditions and thermal overheating. A D-Sonic amplifier will automatically power itself down and reactivate after it finds a short circuit or a current/thermal problem. And, to make it even safer, it will activate graceful, rounded wave forming if it clips, to prevent damage to your speaker drivers. So a D-Sonic amplifier will give your speakers a good workout but it will not damage them if your speakers are a reasonable power match. D-Sonic amplifiers are indeed gentle giants.

They run cool because they are 88+% efficient, so very little heat dissipation is necessary. And they feature medical-grade circuits to remove EMI and RFI interference from their AC power and signal circuits. All channels are true mono in that they only share grounding and AC line power. There’s also a 12VDC trigger input for a 1-to-3-watt standby mode.

Dennis utilizes the Pascal X-PRO Class D module in his D-Sonic amplifiers. And he has done his homework. He chose the Pascal module after reviewing several other Class D technologies. He started with common-sense design principles (high-quality components, good grounding, careful EMI/RFI protection and power supply design) and then iterated until he found the best circuit design to get the most out of the Class D module he thought sounded best.

OK, so let’s talk about the lifetime of an amplifier. We all know that with tube or solid-state amplifiers, the older they get the more likely it is that they will need capacitors, resistors, transformers, and whatnot replaced, either with NOS vintage or contemporary components. But those components are, for the most part, not particularly likely to see new development. We’re just not likely to see a new, radically different 6L6 power tube or metal film resistor anytime soon.

This is not the case with Class D amplifiers. There are a number of Class D modules available now (and there are many different schools of thought and implementation regarding every Class D module). Hypex, Pascal, ICEPower, Anaview are but just a few of these modules and each has its own fans and communities. And each module has its own development life cycle; in many ways, you can think of them in the same way you’d think about a computer’s central processing unit (CPU).

And much like the world of computers, there is a lot of research and development into new digital amplifier modules. Say that last year you bought a Windows laptop with an Intel i5 CPU. When the new, faster i9 processor is released, chances are good you can install the new processor in your computer. The same thing is happening with Class D modules; they are frequently updated. But Dennis is mindful of this situation and I don’t think he will leave you stranded with an inferior module if an upgrade is possible.

Dennis can upgrade any of his amplifiers built before 5/5/2017 using the current technology (after 2012). He redesigned the input circuit and will install a retrofit in your older amp. This tells me he is doing what he can to ensure his amplifiers always sound as best as they can.

All D-Sonic production models are assembled in the United States, and they utilize aerospace-quality switches, inputs, and outputs built to military specification. All wiring is silver/Teflon. And they come with a full three-year warranty. These things are built like tanks. In fact, I could easily imagine them being installed in an F-18 fighter plane.

Setting up the M3a-600M amplifiers couldn’t have been easier. Step one: feed it a signal input, either through RCA or balanced XLR cable. There’s a small black toggle switch between the inputs; push it toward RCA for that input, or toward XLR for that input. Easy. Step two: push your speaker cable banana plugs into the WBT terminals. Step three: plug in a power cable. That’s it, you’re done. The D-Sonic amplifier is ready to make music. Even though it won’t get particularly hot, you still want to give a D-Sonic amplifier some room to breathe, pretty much like any audio component.

If you’re building D-Sonic amps into a home theater rack, a rack mount kit is available for $97. This will enable you to install them into a standard rack rail system.

If you’re using the highest-powered D-Sonic amps, such as the M3a-3000S, M3a-5400-7 or M3a-6100-7, they can be configured to use dual power cords. This is recommended for when you’re using the amps in a professional setting and need that redundancy or performing a power test into a capacitive load.

After they’re wired into your system, you reach behind the amp and flip its toggle switch to power it on. Yeah, it would have been more convenient (for me and my big hands, at least) if the power switch were on the front of the amplifier. And yeah, that would also ruin the clean look of the face of the amplifier if the power switch were there. But I do not doubt there is a very good reason why the power switch is on the back, and I am sure it is based on sound engineering practice. Everything about these amplifiers, from the precision fit of the screws and connectors and body panels to the sturdy quality of the finish, prove to me that Dennis Deacon is building components to deliver optimal performance for a very long lifetime.

For my review, I connected the M3a-600M amplifiers to my Schiit SYS preamp. My two sources were my Oppo BDP-205 and my Ray Samuels Audio F-117 Nighthawk phono stage, which was driving the Denon DL-103 mounted on the Jelco tonearm of my Garrard 301. Speakers are my Spatial Audio M4 Triode Masters.

And how did my system sound with the D-Sonic amplifiers? As soon as I powered them on, I knew something special was happening. In fact, it took me a few days to begin to understand just how different my system had become with the D-Sonic amplifiers. And after a month, I was still being surprised.

My first surprise was just how much more of my Spatial Audio M4 Triode Masters I was hearing. Do you know how scientists always say we humans only use 20 percent of our brain? The M3a-600M amplifiers made me realize I had only been using 20 percent of my speakers. While I enjoy the warm and lively sound of the fifty watts per channel my McIntosh MC2505 feeds the speakers with, the sheer energy and power they portrayed when powered by the M3a-600M amplifiers was startling. The improvement in bass response, in particular, was very exciting. Finally, these speakers were getting the power and control they really need to sing. For the first time, I could see much deeper into the shape of the bass notes in the music; attack, decay, fret noise, all came into considerable focus. And with that came increased soundstage, both front-to-back and side-to-side. And that’s just what I noticed in the first hour of listening to these amps.

And it wasn’t just the bass. The midrange and upper frequencies of all music I listened to gained a precision and clarity I didn’t know possible with the speakers. Lyrics became easier to understand, especially with music that’s busy or has the vocals low in the mix. Because there was such improvement in the definition of distinct notes as they appeared next to other notes, there was improved clarity and distinction in the overall quality of the music. This was particularly exciting with movies. I also run my TV and movie watching through my main stereo, and the M3a-600M amplifiers made visual entertainment much more enjoyable.

The Spatial M4s are relatively easy to drive; in my review of them, I remarked how they sounded good with either a 2.5-watt tube amp or a 150-watt Class D amp. So it was easy to know the M3a-600M amplifiers would drive them well. But if you have speakers which present challenging loads or even woofers for that matter, the clean and prodigious sound of D-Sonic amps is what you want driving them. Planer speakers such as Magnepan or Martin-Logan, or massive woofers like those from REL are sure to benefit from D-Sonic amplifiers. D-Sonic amplifiers would be top on my list if I were building a home theater, that’s for sure.

It’s worth noting that I did not hear any change in sound quality with the M3a-600M amplifiers after they were powered on for a few hours. The amplifiers gave me their best quality as soon as they were powered on. And since I was using a passive amplifier, knowing I’d get best sound quality as soon as I turned on the system was another treat, as this is not something I get with my vintage gear.

I could easily picture the man sitting on a chair playing his guitar in my listening room. But more importantly, I could better hear the human flow of the music. Notes and finger manipulations were portrayed so quickly and correctly that the music did not suffer with regard to timing or distinction. It became much easier for me to forget the system and get lost in the music.

The greasy tones of Buzz Osborne’s Gibson Les Paul, the different timbres of Dale Drover’s cymbals, and the full thud of Mark D’s bass guitar all came through. Melvins are also unusual in that they have a wicked sense of humor and can lock into a funky groove for a few bars here and there, and with the D-Sonic amplifiers, my system accurately portrayed the full humor and fun of these instances.

During bass-heavy sections I could easily hear the sound of the room and the microphone in front of the bass amplifier, giving me the full spectrum of the bass guitar performance. I could hear the different timbres of crash and splash cymbals, giving me a better understanding of what the drummer was trying to get across. The M3a-600M amplifiers gave me much more of the complete spectrum of the music, the performance, and the humans behind it all. And that was with no smearing at all of the notes’ timing that I could perceive.

The M3a-600M amplifiers brought a depth and realism to the show I had not experienced when listening to it with my vintage amplifiers. The sound of heavy-caliber ballistic rounds leaving a Gatling gun on a space ship and piercing the metal plating of another ship sounded exactly as I thought it would, with terrific impact and snap. It was very easy to distinguish how a human voice would sound in a small room on a space ship versus how it would sound in a helmet while floating in the vacuum of space. So many spatial clues became apparent that I was able to hear considerably more details about the show I’d missed before. And yes, explosions sounded great when the M3a-600M amplifiers were powering my Spatial M4 speakers.

The D-SONIC M3A-600M AMPLIFIERS deliver incredible sound quality and unwavering reliability for the price. Highly recommended.

The M3a-600M amplifiers deliver incredible sound quality and reliability for the price. They are built to last and Dennis Deacon provides excellent support. And if you have big, power-hungry speakers or subwoofers, the D-Sonic amps are sure to surprise you. Highly recommended.

The post D-Sonic M3a-600M Mono Amplifier Review appeared first on HomeTheaterHifi.com.

Welcome. Welcome to the age of the streaming amplifier. In the M10, NAD includes pretty much everything you can imagine and likely more. There is a fully digital integrated amplifier, an MQA-capable DAC, streaming and multi-room functionality, room correction, voice-control capability, AV integration via HDMI ARC, and a full-function, full-color touch screen display. By packing all of this and more into a small, lightweight, and elegantly finished enclosure, the M10 has the look and feel of a high-end, modern lifestyle product, but with serious credentials under the hood.

There are no knobs or buttons on the M10. The name of the game here is smooth Industrial chic. The casework is black, low-sheen, anodized aluminum with gently radiused corners. The top and front panels are made from durable Gorilla Glass, the stuff found on smartphones and tablets. The use of that makes sense here because the M10’s front display is a full-color, seven-inch LCD touch screen and, for the top panel, it facilitates wireless communication without the need for external antennas. The front display also allows a bit of customization, which is to be expected from a software-driven device. Those preferences can include the information displayed, which can be the current input, custom named, or a pair of small VU meters. Inside, the M10 is built around a “HybridDigital” nCore amplifier from Hypex and the well-regarded ESS 9028 Sabre DAC.

The M10 is not supplied with a traditional remote control handset. Instead, it is controlled via the front touch screen or through the BlueOS app available for smartphones, tablets, and computers. While I did not do so, some functions can also be controlled via some smart home systems as well as Alexa and Siri. The M10 supports AirPlay 2 and has the ability to stream from what feels like zillions of free internet radio stations as well as paid services such as Spotify and Tidal. While the M10 does not include a headphone jack for a wired connection, it will connect to wireless headphones via aptX Bluetooth. Nor does the M10 have a built-in phono preamplifier, but one of the two analog inputs can be used to connect one and thus, a turntable. The M10’s three digital inputs consist of optical, coaxial, and HDMI ARC. There is also a USB input, which, in addition to supporting playback from storage devices, is how the supplied microphone connects to the M10 when conducting the Dirac Live’s room correction measurements. Finally, while there are two subwoofer outputs featuring active crossover control, the M10 curiously does not permit adjustment of the frequency response of the main speakers.

The M10 was placed in my usual system, which consists of a JL Audio E12 subwoofer, a pair of Focal Micro Utopia BE bookshelf speakers, the Rega Planar 6 turntable with Ania MC phono cartridge, a Sutherland 20/20 phono stage, and a Roku Streaming Stick connected to a now old-timey Panasonic THX-certified plasma.

Getting the M10 up and running is simple. The M10 boots up like a computer and since a lot of settings are really just personal preferences, you can connect your sources, establish the network connection (wired or wireless) and worry about things such as naming or hiding inputs and front display brightness at your leisure. What is required is downloading the BluOS app on one of your devices. That is unless you want to tap through the M10’s front display menus every time you want to do literally anything. Once you have the BluOS app up and running, it will automatically find the networked M10. Finding the network-attached storage (NAS) devices proved more elusive and to the extent the NAD does not find them automatically, as was the case with mine, you need to enter the path manually, which can involve some minor trial and error, but it will eventually work. As long as the NAS stays in the same place on the network, the app will remember it and you never have to deal with the process again.

I waited approximately a month before performing the Dirac Live room correction because I wanted to first become familiar with the basic sound of the M10. After feeling I had a handle on that, I downloaded the Dirac Live app on my phone, connected the microphone to the M10, and followed the on-screen instructions, which are fairly straightforward. In order to build the optimal filter, Dirac requires you to plug in a microphone and take measurements of test tones in a total of 13 positions, 12 of which are located approximately 16–24 inches around your selected listening position in order to optimize the filter for that room position.

After Dirac takes its measurements, it calculates the optimal filters, which are then displayed graphically, and which you then name, save, and upload to the M10. While it was a bit unclear to me that the filter was uploaded and active while I was in the Dirac app, once I switched back to the BluOS app, I saw the function to turn Dirac Live on or off at the top of the M10 audio settings.

Right out of the box, the sound of the M10 was far from compelling. It was not that the sound was bad in some obvious way, but most times it just sounded rather flat. I was bored. This was illustrated when I played a track with well-mixed drums. On “Hole in my Life” from Outlandos D’Amour, the debut album of The Police, the lack of vitality was easily discerned on the snare hits. What I had recalled as the memorable crack of a tight snare now sounded more like a lame thwack. To be sure, I’m oversimplifying, but the point is, once those snare hits soften, the energy of the song transforms. And once you change the energy of the song, the way your brain engages it changes. Oddly, on this same track, higher up in the frequency range, the cymbals sounded excellent, at times shimmering, at times crashing, just as I recalled. In sum, during this initial period, what I observed most overall was that the sound character of the M10 was much like its physical character – smooth.

As far as the sound of audio-video material, watching all sorts proved a great experience. For example, I never struggled to understand dialogue, effects were always there, and it just seemed that the M10 had hit its proverbial stride. Dirac Live took this up to another level still. While it proved difficult to isolate exactly what Dirac Live changed, the overall impression was immediately apparent. Dirac Live gave the entire system more transparency. Imagine, for example, going from watching two people have a conversation to being in that conversation. That is, of course, somewhat of an exaggeration, but in the best sense, Dirac Live turns up the focus ever so slightly on everything you hear. Perhaps counterintuitively, it’s the restraint—not turning the focus up any more than necessary—wherein the genius and value of it lie. This is a classic less-is-more scenario.

One of the pleasant surprises with the M10 was the quality of analog playback. As mentioned above, there is no internal phono stage, but through my phono preamplifier and turntable, the sound was much better than I expected, given the analog signal is converted to digital by the M10. As might be expected, the most noticeable aspect of analog playback through the M10 was the reduction of background noise. What was unexpected was that the M10 was able to deliver a good dose of what my analog playback typically provides. Vinyl playback became an area where, much like Dirac Live’s seemingly incremental improvement, the sound took on a welcome uptick in both richness and dynamics.

In connection with this review, I also had the opportunity to experience the multi-room capabilities of BluOS and the M10. I added the compact Bluesound Pulse Mini 2i ($499) wireless streaming speaker in my bedroom and it was a model of simplicity to set up. It found the network and connected instantly, updated itself and was ready to go in the BluOS app. This very small but solid-feeling unit sounds great. It has a surprisingly rich sound and can go very loud for such a small enclosure. The killer feature is found in the settings, which offer a ton of flexibility to tailor the sound to both placement and personal preferences. The only knock I could come up with was that the Pulse seemed less quick to react to song selection than the M10, but that is because the M10 pretty much responds instantaneously to those commands. Also, I won’t go into detail, but whoever was involved in designing the packaging of the Pulse Mini 2i—kudos for creative thinking and problem-solving.

The most obvious difference between them is the full-color displays—none of the Naim models have touch screens. However, while the M10 touch screen seemed to work flawlessly, touch was not the issue. I found that the bigger sacrifice was giving up a traditional remote volume control. It could just be me, but when watching TV or listening to music, I find myself adjusting volume quite a lot. With the Naim Atom, volume adjustment can either be really simple, simple or not simple. Really simple is using the included radio frequency remote control. You don’t even have to pick it up for it to work, but if you do, the internal sensor activates the LEDs which backlight the keys. It’s very elegant and very precise. With the M10, there is no remote, so you have to program it to accept another remote’s IR signal, which I did using the Roku remote. You can also go through the exercise of unlocking your phone or device, navigating to the BluOS app, and finding the volume sliderhl. The M10’s app-centric experience is similar to what you do in the Naim app to control volume, but I found the Naim app easier to use because you can set it up so that the volume control will appear on the bottom of every screen. This is different in BluOS where there are some screens where you sometimes need to navigate to a different screen to find the volume control. I did not find a way to change that. Using the volume control on the Roku remote to control the M10 did not eliminate my desire for a remote control, but it was far better than not having one at all. Using that remote resulted in either very slow changes or inconsistent jumps in level. In the end, controlling the M10’s volume through the BluOS app was an overly complicated experience, especially because my phone is not always right next to me. What I ended up doing more and more was to physically move to the front of the M10, tap the display to activate the small circular volume control, position my fingertip on it, and drag it in a circular motion to adjust volume. This too I felt was overly complicated. The issue of using the touch screen was not that the M10’s screen got covered in fingerprints (it was surprisingly good about that), but that I used this manual method of volume control so much, it started to feel, ironically, like the M10, which screams future-proof, was created before the era of remote control.

For manual volume control, nothing can beat the Atom’s massive, top-mounted wheel, which is derived from Naim’s flagship line of equipment. It spins freely, seemingly without any resistance, aand, while it does so, the large front display of the amplifier simultaneously displays the volume number full screen and, at the same time, thin LEDs on the outer edge of the volume control illuminate to let you know where you are in the range. This is because there are no stops in the volume wheel mechanismtl. Based solely on volume control usabilityr, which I realize may be of outsized importance to me, I preferred the Atom to the M10. 0’

In terms of the sound character between the Atom and the M10, I initially noted that given the difference in rated power, I expected the M10 to sound and seem a lot more powerful at 100W than the Atom at 40W, but I found the opposite was true. I did not measure output, but subjectively speaking, it seemed the Atom was capable of higher volumes. This was readily apparent when Dirac was engaged, as the ultimate volume that could be achieved was lower still. While I pushed the M10 hard and had noted that the sides of the chassis were hot anytime I touched it, the M10 was unflappable and never shut down. Most importantly, the M10 had also managed to redeem itself with regards to the dynamic bite I had noted in the context of The Police track. All it took was bypassing my mains conditioner and plugging the M10 directly into the wall, as NAD recommends. This transformed it. The overall sound was more enjoyable immediately and put the M10 and Atom far closer than I would have thought possible. Ultimately, for my room, my system, and my ears, the Atom’s slightly more forward and/or lively presentation is the one I would pick, but I can easily imagine someone else preferring the M10, which seems to have better analog playback, greater access to internet radio stations (and better at searching for them), and a more neutral sound. oe t0y t h

A fantastic product that delivers a ton of performance for the money.

Rich in superlatives, NAD’s first entry into the world of streaming amplifiers has proven to be among the best in the world.

The post NAD Masters Series M10 Streaming Amplifier Review appeared first on HomeTheaterHifi.com.