Class A Best attainable sound for a component of its kind, without any practical considerations; “the least musical compromise.” A Class A system is one for which you don’t have to make a leap of faith to believe that you’re hearing the real thing. With the recent launches of Super Audio CD and 24/96 DAD, and the imminent introduction of DVD-Audio, we have created a new Class A+, for the best performance in those digital categories. Class A now represents the best that can be obtained from the conventional 16/44.1- kHz CD medium. We also created a Class A+ category for turntables, to recognize the achivement of the Rockport Sirius.
Class B The next best thing to the very best sound reproduction; Class B components generally cost less than those in Class A, but most Class B components are still quite expensive.
Class C Somewhat lower-fi sound, but far more musically natural than average home-component high fidelity; products in this class are of high quality but still affordable.
Class D Satisfying musical sound, but these components are either of significantly lower fidelity than the best available, or exhibit major compromises in performance — limited dynamic range, for example. Bear in mind that appearance in Class D still means that we recommend this product — it’s possible to put together a musically satisfying system exclusively from Class D components.
Class E Applying only to loudspeakers, this “Entry Level” classification includes products that may have obvious defects, but are both inexpensive and much better than most products in their mid-fi price category.
Class K “Keep your eye on this product.” Class K is for components that we have not reviewed (or have not finished testing), but that we have reason to believe may be excellent performers. We are not actually recommending these components, only suggesting you give them a listen. Though the report has yet to be published in certain cases, the reviewer and editor sometimes feel confident enough that the reviewer’s opinion is sufficiently well formed to include what otherwise would be an entry in one of the other classes, marked (NR).
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[edit]SACD, DVD-A, & CD Players
[edit]A+
Accuphase DP-85: $16,500
Expensive, but SACD playback dropped MF’s jaw: “TheAccuphase is a stunning SACD player combining exciting rhythmand pacing, full harmonic development, high resolution, and preciseimaging and soundstaging… The DP-85’s SACD performanceset a new standard for digital anything… It produced the ease,relaxation, transparency, air, bloom, space — and most important— plain old musical pleasure I had heretofore associated only withfine analog playback.” Both MF and JA were disappointed withthe DP-85’s CD performance, however. “It was almost as if theDP-85 was so interested in keeping my foot tapping that it wasmore concerned with musical flow than with letting the harmonicsripen and develop,” said MF. (Vol.25 No.9 WWW)
Classé Omega: $12,000
Separate signal paths are used in this two-channel SACD playerfor standard “Red Book” CD and SACD datastreams so that thebest possible performance can be extracted from either medium.J-10 found that the Omega performed well with “Red Book” CDsand that SACDs were communicated with an exquisite “superiorityof playback.” In SACD mode, J-10 noted a “midrangelusciousness,” while CDs were played with “sharp focus” and“dynamics up the hoo-hah.” Characteristic of both formats wassound that remained “big, full, dramatic, colorful, detailed, andairy.” J-10 recommended running the Omega balanced for bestresults in each format. “If I didn’t already have the Accuphaseand the Linn and the dCS, the Classé would be my choice for theone machine that does it all.” PB compared the Omega to theEsoteric DV-50: “The Classé’s presentation was less forward andits images were a tad rounder, more palpable and lifelike …Tomy ears, the Omega ultimately sounded more like a superb LPplayed back under perfect circumstances, while the DV-50’ssound was more like that of an analog master tape. Heads, youwin; tails, you win.” (Vol.24 No.11, Vol.26 No.8 WWW)
Esoteric DV-50: $5500
Universal multichannel SACD/CD/DVD-Audio/Video player withchoice of 8x-oversampling FIR and upsampling RDOT low-passdigital filters, three digital outputs (not SACD), a full set of videooutputs, and both balanced and unbalanced analog outputs. PB:“All of the filters offered very good sound, but the maximumupconverting steadily provided the most complete and continuouspresentation. Images were invariably rounder,better-focused, and more like the sound of an analog mastertape.” Overall, the sound was “slightly forward of dead-neutral…Dynamics were always first-rate, with bass dynamics standing outfor special commendation…Resolution was outstanding on alltypes of music… Soundstaging was steadily as deep, high, wide,and handsome as the sources would permit… The DV-50 communicatedan exceptional sense of music’s flowing lines and realmeanings.” (Vol.26 No.8 WWW)
Meridian Reference 800: $17,000–$19,000, depending on options
The transport is a computer DVD-ROM drive with three memorybuffers and three layers of error correction; the back-plane topologyhas room for another drive and multiple plug-in cards foraudio and video, as well as provision for analog inputs (A/D) andoutputs (D/A), gain/system control, upsampling, and future multichannelaudio and DSP room correction. KR used it mostly as asource for the Reference 861 Digital Surround Controller in hisMeridian surround-for-music exposé: “Via the analog outputsfrom the D/A plug-in, it was as good as digital gets today.”Clarity and impact were beyond reproach, with notable bass definitionand treble purity. Superior with 24/96 discs, its 88.2kHzupsampling of “Red Book” CDs puts other players at a disadvantage,feels JA. Also has both in-the-clear and encrypted 96kHzdata output. But, as KR summed up, “In consideration of its performanceas a player and its configurability as a system controller,the 800 can be considered a really attractive value. Superb as atransport; why look elsewhere for the DAC?” KR’s 2003 “Follow-Up” explores its DVD-A capabilities: “Playing stereo DVD-Atracks, the Meridian combo surpassed anything I’d heard beforefrom DVD-A… [T]he Meridian Reference 800-861 made all of themultichannel DVD-As I had, as well as my system itself, soundbetter than ever, and certainly equal to what I get from SACD.”(Vol.23 No.2, Vol.26 No.8 WWW)
Sony SCD-XA777ES: $3000
“The XA777ES is a top-class CD player whose price might be justifiedwithout regard to its SACD capabilities,” enthused KR, whoappreciated its “ability to communicate a staggering dynamicrange without apparent distortion of the musical illusion.” TheXA777ES presented itself as “transparent, uncolored, and evenruthless in exposing detail in every disc,” and “increased the clarityand openness to an almost startling degree.” KR went on: “TheXA777ES’s uncompromising nature could be disadvantageous —brightness in the source was not curable with either CD filter…[It]was definitely in the ‘accurate’ rather than the ‘euphonic’ camp.”Nevertheless, KR found the XA777ES to “establish a new standardfor SACD reproduction… The step from CD to two-channel SACDwas rewarding, the step up to multichannel was addictive andpolarizing… How could I have been so happy with less?” Aboutto be replaced. (Vol.25 No.1 WWW)
[edit]A
Ayre D-1x: $8000 as reviewed
The D-1x perfectly illustrates the degree of flexibility possible in today’s digital world. The base D-1x is a DVD-Video transport priced at $5250. Options include video only ($6000), audio only ($8000), audio and video ($8750), video only with VR2 progressive scan ($8750), or audio plus progressive-scan video ($11,500). Optioned as a pure CD player, the D-1x plays back 16-bit/44.1kHz CDs, 24/96 DADs, and CD-Rs. Once PB had dealt with the D-1x’s “catlike fussiness” about placement and cables, he found big and powerful bass, an “exceptionally detailed and transparent midrange,” excellent dynamics, and very good soundstaging. He summed up: “The Ayre D-1x was a bit more temperamental about placement and cables than most other CD players I’ve used, and would not be my first choice for a forward or lightly balanced system. Those minor caveats aside, the Ayre’s performance was consistently musical and satisfying.” (Vol.26 No.2 WWW)
Balanced Audio Technology VK-D5SE: $6000
This straight 16-bit/44.1kHz machine uses 6H30 SuperTubes instead of the BAT VK-D5’s 6922s, an upgraded power supply, and a 24-bit DAC section and digital filter. While J-10 noted that the VK-D5SE’s highs “bumped up against the limitations of 16/44.1,” its bass had “excellent definition, leading-edge snap, roundness, fullness of tone, and a fine integration of the entire bass region into the soundscape.” The midrange, too, was “very detailed, warm, flowing, attractive, alluring.” J-10 concluded, “It was more than fine. For me, however, it was a little opaque and somewhat less pellucid up top than what I’ve become accustomed to.” Nevertheless, “If dropping a bazillion bucks on much more expensive up-over-around-and-through oversamplers isn’t an option for you, I highly recommend Balanced Audio Technology’s VK-D5SE.” (Vol.21 No.5, original version; Vol.25 No.3, SE WWW)
Gamut CD 1: $3500
BD was struck by the CD 1’s “easy vibrance — a rich, flowing sound that seemed to coax the tension out of me.” Within that smooth, vibrant presentation, BD heard a “wealth of inner detail” with a “complex mix of distinct sounds.” He commented on the reproduction of ambience cues: “The mix of direct and reflected sound, the perception of distances, even the very density of the ambience — it all coalesced to describe the space at the rear of the stage with uncanny accuracy.” However, “images just weren’t always as sharply bounded as they could have been,” and there was a “slight softening of transients in the upper midrange and lower treble.” (Vol.26 No.5 WWW)
Linn Sondek CD12: $20,000
“Somehow, this CD player just seems to exalt the music — it’s easily the finest CD player I’ve had in my system,” says WP. “But ouch, is it ever expensive!” Not, perhaps, a sane purchase, but a player good enough to drive you more than a bit crazy. Its measurements were “about as good as I have seen from a CD player,” understated JA, who deems the Linn the finest-sounding CD source he has had in his system. Stereophile’s “Digital Source of 1999.” (Vol.22 No.2 WWW)
Marantz SA-8260: $1099
JM says that default-recommending the multichannel SA-8260 SACD player at this price is almost a no-brainer. It is “elegantly designed and solidly built… Disc-access times were not excessive, and its tracking was quiet… Its CD playback was so good that only pure-DSD SACDs could make a slam-dunk case for the new medium.” The only gripe JM had was that the SA-8260 doesn’t allow you to reset the SACD play-mode default from multichannel to stereo on the fly. (Vol.25 No.11 WWW)
Musical Fidelity Tri-Vista SACD: $6495
“Easily Musical Fidelity’s most elegant-looking product ever,” according to MF, the Tri-Vista is an SACD/CD player with tube analog stage, digital data input, 24-bit delta-sigma, dual-differential DACs, and 8x-oversampling digital filter. Due to the scarcity of the 5703 triode tube, only 800 Tri-Vista SACD players will be manufactured. MF compared it to dCS’s $34,000 stack of Verdi, Purcell, and Elgar Plus: “The Tri-Vista’s airy, rich-sounding sonic picture was very similar overall, though the scale of the stage size dropped down a few notches in width, height, and, especially, depth. Image specificity also decreased somewhat, as did solidity and the purity and crystalline clarity of transients. The Tri-Vista produced a somewhat richer overall picture.” Commenting on the Tri-Vista’s CD capabilities, MF called it “the best-sounding Musical Fidelity has come up with.” However, ST disagrees on the sonic characteristics of its CD playback in comparison to that of the Nu-Vista 3D. MF: “The Tri-Vista sounded slightly richer, warmer, and darker…’’ ST: “The Tri-Vista struck me as more detailed, more informative, less romantic (or warm, if you will)…’’ “A little lacking in dynamics,” he adds. Either way, JA was impressed: “The Tri-Vista offers excellent measured performance, with no shortfall that could be laid at the feet of its tubes.” (Vol.26 Nos.5 & 7 WWW)
Naim CD5: $2300 $$$
Mr. Analog felt that while “the CD5 had a few shortcomings, it proved an easy player to enjoy because it made music without apology…. The CD5 may not have sounded as ‘exciting’ as the CDX, but its more relaxed sound made listening to music more inviting and compelling, not less: There was more texture and color within the notes, and the sonic picture was more fleshedout harmonically, giving music a velvety richness I’d not previously associated with Naim players.” Slightly dry on top, with a hint of transient softness, this offset by a total lack of grain, edge, and glare. PM is not a fan, but MF found the CD5 does Naim’s “rhythm and pacing” thing as well as you’d expect. No digital output. The Flatcap 2 power supply adds $900, but MF decided you get your money’s worth with it. “The Flatcap 2 didn’t fundamentally change the CD5’s winning personality, but reinforced it in ways not so subtle and very useful.” (Vol.24 No.4)
Pioneer DV-AX10: $6000
With onboard Dolby Digital and DTS decoding and Hi-Bit Legato Link Conversion, the DV-AX10 is the first of Pioneer’s “universal” disc players launched in the US. It plays two-channel SACD, multichannel DVD-Audio, DVD-Video, CD, and CD-R discs. Intrinsic to all modes were transparency, tonal balance, and palpability, though SACD performance was not as good as either DVD-A or SACD sound from other players. J-10 was struck by a soundstage marked by “linearity, bass authority, sweet and open highs, and a midrange to make the average audiophile plotz with pleasure.” Nonetheless, this was offset by a “slightly forward treble region.” (Vol.25 No.2 WWW)
Simaudio Moon Eclipse: $5500
The Moon Eclipse is Simaudio’s first “statement” digital product. “Everything about it — technology, build quality, user interface, cosmetics — reflects careful thought and lavish attention to detail,” declared BD, who thought the Eclipse’s performance “excellent in nearly every regard, and truly exceptional in some… While it wasn’t perfectly neutral, it was awfully close, and its deviations — a slight lack of low-bass power and a slightly cool overall tonal balance — were minor and very easy to live with.” The latest incarnation no longer offers HDCD, but BD said that “it does everything well, and its incredible strengths in the areas of spatial reproduction and detail resolution are, if anything, even stronger than the original’s. It does, however, retain its slightly cool tonal balance, so it may not be the best match for some associated gear.” The disc-acceptance quirks that bothered BD, as well as the need to jumper past the HDCD filter to achieve its incredible resolution, have also been addressed. Add $500 for PSX power supply. (Vol.24 No.4, Vol.26 No.4 WWW)
Sony SCD-C555ES: $800
LG found this five-disc carousel SACD/CD changer to be “competent, fast, dynamic, and forceful,” with outstanding “punch and rhythmic drive.” He loved it in two-channel SACD mode, noting a “width and depth not heard before… There was an open, extended, and effortless quality that had a remarkable smoothness and liquidity.” Multichannel sound was “seamless, extremely clear and effortless…very seductive.” Built-in multichannel bass management provided only rudimentary room interaction adjustments, however. LG swooned: “The SCD-C555ES rendered timbre and musical color with far greater depth than I’ve ever heard from a two-channel system… The musical values I heard were not just good, but breathtaking.” (Vol.24 No.10 WWW)
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[edit]CD, DVD & SACD Transports
[edit]A+
Accuphase DP-100: $12,995
Built like a golden tank, this impressive transport plays CD, CDR,and SACD single-layer, dual-layer, and hybrid (SACD/CD)discs. S/PDIF output is for CDs only, with SACD signals appearingon the proprietary RJ-45–based HS-Link. Use of a Sonymechanism means the same long disc-read times as the SCD-1.This suave performer has become J-10’s reference transport,beating out even the pump-driven, air-bearing Forsell AirReference. His usual setup runs HS-Link to the Accuphase DC-101processor for SACD playback, and the S/PDIF output to the dCS972 or Purcell/Elgar Plus combo for the Very Best of All Possible Worlds. (Vol.24 No.2 WWW)
dCS Verdi: $10,995
SACD/CD transport with DSD stream output via IEEE1394FireWire interface. With the Verdi driving the Purcell and ElgarPlus, “there were a clarity, a focus, and a delineation of individualinstruments… Its physical presentation was clearly focused andcorrectly sized, cushioned by a distinct breath of air… This wasthe first CD presentation that played on the same musical field asthe best analog,” said MF. SACD playback via the FireWire-connectedElgar was “the finest, most immediate, most musicallypure that I’ve heard,” he summed up. (Vol.26 No.4 WWW)
Meridian Reference 800: $17,000–$19,000, depending on options
As well as playing DVDs and CDs, it upsamples its output to88.2kHz (CD) or 96kHz (DVD). See “SACD, DVD-A, & CDPlayers.” (Vol.23 No.2, Vol.26 No.8 WWW)
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[edit]Digital Processors
Editor’s Note: The sound of any particular CD transport/digital processor combination will be dependent on the datalink used — see “Bits is Bits?” by Christopher Dunn and Malcolm Omar Hawksford, Stereophile, March 1996, Vol. 19 No.3. Unless mentioned, processors are limited to 32/44.1/48kHz sample rates. To be included in Class A+, a digital processor must be capable of handling DSD or 24/96 LPCM data.
[edit]A+
Accuphase DC-101: $14,995
With the same sumptuous build quality as Accuphase’s DP-100 transport, the DC-101 D/A processor accepts slide-in boards that permit a variety of input and output options and processing capabilities, not the least being SACD playback. If DVD-Audio makes it big, they’ll supply a board for that too. Digitalia include six single-bit Multiple Delta Sigma DACs per channel and, in a nod toward independence from a preamp (J-10 preferred using one), a digital volume control. J-10: “The best way to give you an idea of its overall SACD presentation is to talk about ambience… The Accuphase combo delivered it like nothing I’ve ever heard in our system before. Totally remarkable.” Gently, naturally, relaxedly, SACD took over the acoustics of J-10’s listening room. Such words as “liquid,” “voluptuous,” and “immersive” pepper his review. The Marantz SA-1 sounded more fast and transparent with SACDs, but the DC-101 was more refined and detailed than the already musically engaging Sony SCD-1. Playback of 16/44.1 CDs was ultimately somewhat misty and obscured, a victim of the worlds-ahead-in-quality sound of SACD, decided J-10. (Vol.24 No.2 WWW)
dCS Elgar Plus: $14,995
A remote-control D/A processor with digital volume control that’s future-proof in that it will decode two-channel DSD and 24-bit recordings (although it does lack HDCD decoding). “The Elgar sounds simply superb and has a measured performance to match,” JA gushed about the original version. While there were differences between the two units, Our Fearless Leader felt the Elgar was within striking distance of his longtime reference, the Mark Levinson No.30.5. However, he added, “the sound of 96kHz tapes reconstructed by the Elgar was simply more real. And that is what the High End is all about.” Compared with the original Elgar, the Plus adds support of DSD, SDIF-2, and IEEE1394 interfaces, the ability to slave to an outside word clock, a digital output, and a substantially expanded function menu. With these upgrades, J-10 found the best sound to be direct into the amps (no active line-stage necessary), fine-tuned with a choice of four filter settings. “In a way, the elegance of the Elgar Plus is all about the highs,” he decided. The rest of the frequency spectrum is a knockout as well: very liquid and musical. MF added that compared to the Elgar driven by the dCS Verdi on CDs, his Nu-Vista 3D sounded somewhat smeared and soft. “Its transient performance can’t compare, nor can its spatial presentation.” The dCS combo must have caught our analog maven in a moment of weakness: “I thought, ‘If CDs had sounded like this in 1982, I’m not sure there would ever have been an ‘Analog Corner’… As far as what sets the dCS system apart sonically, I guess it starts with the proprietary Ring DAC, continues with the math encoded on the DSP chips, and ends with the structural rigidity and quality of the parts… But as good as it sounded on SACD — it was the dCS gear’s ability to extract the maximum musicality and dimensionality from CDs that most impressed me.” The only criticism MF could muster was for the Verdi’s “truthful, analytical delivery and lack of tacked-on warmth.” See also MF’s comments on the dCS Verdi SACD transport. (Vol.20 Nos.7 & 12, Vol.22 No.2, Vol.24 No.1, Vol.26 No.4 WWW; see also the Sony SCD-1 review in Vol.22 No.11.)
dCS Purcell: $7995
Audiophile version of the $6995 dCS 972 professional digital/digital processor (reviewed by J-10 in Vol.22 No.2 and Vol.24 No.1) accepts sample rates of 32–96kHz and outputs 32–192kHz at 16–24 bits in a variety of digital formats, as well as DSD. Noiseshaping and dither options are switch-selectable. J-10 found the Purcell’s sound, in conjunction with the Elgar Plus DAC, to be “smooth, liquid, very natural, yet fast and revealing.” You can save some scratch by pairing it with the less expensive dCS Delius, which uses the same Ring DAC technology as the Elgar. In any case, J-10 points out, the combo gives new and exquisitely musical life to existing 16/44.1 CDs. “For me,” he concluded, “the Purcell/Elgar Plus is an upsampling digital reference of the first order.” MF added “I’ve been through laserdisc transports, glass-fiber optics, oversampling, and upsampling, and I’ve heard enough digital playback systems at audio shows to feel comfortable saying that these components from dCS comprised the best digital playback system I’ve ever heard for decoding standard CDs.” (See also MF’s comments on the dCS Verdi SACD transport.) Now includes IEEE1394 interface as standard. (Vol.24 No.1, Vol.26 No.4 WWW)
Esoteric D-70: $14,000
D/A processor allows HDCD and upconverted CD playback as well as high-sample-rate LPCM playback. Three selectable digital filters include a proprietary design claimed to interpolate data representing frequencies greater than Fs/2, as well as selectable word-clock options and RAM-buffer refresh. Digitally controlled, optically coupled, variable analog output allowing it to drive a power amp without a preamp. JM: “The sound? Just plain absolutely wonderful. Not a trace of glare or grain. Even more important, this was demonstrably not achieved by rolling off the treble to make it sound ‘more like analog.’ There was a full measure of detail, which, instead of driving me back into my seat, brought me deeper into the soundstage and deeper into the music.” (Vol.26 No.7 WWW)
[edit]A
Chord DAC64: $3100
JA decided that the sound of the “eye-poppingly gorgeous” DAC64 was “fairly ordinary” without its RAM buffer engaged. However, “switching the buffer in circuit both sweetened the tonal balance and made the perceived stage deeper,” he found. Compared to the Musical Fidelity A324, “The Chord had an overall more laid-back presentation and a greater degree of lower-midrange bloom. . . . The Chord’s bass was fatter, with less-well-defined leading edges to bass guitar and double bass.” Still, JA was impressed: “The DAC64 should be ranked highly… Many listeners should find its silky-smooth highs seductive, as well as its slightly larger-than-life lows.” (Vol.25 No.7 WWW)
Grace Design Model 901: $1495
Accepts digital inputs from 32kHz to 96kHz. See “Headphones & Headphone Accessories.” (Vol.26 Nos.3 & 8 WWW)
Mark Levinson No.360: $5000
Class A, says KR, “ceding by only the finest of margins to the $10k+ DACs. The 360 is at the point of inflection of the price/performance curve: 24/96, HDCD, and all that jazz.” KR continues: “The staggering dynamic range seemed absolutely effortless… Middle and top notes had a glorious ring to them… The music just seemed to be there in my room.” His final word on the matter: “no obvious defining character.” (Vol.22 No.12 WWW; see also KR’s report on the No.360S in this issue.)
Perpetual Technologies P-1A: $1099
The P-1A digital/digital processor can now enhance resolution to 96kHz and 24 bits, and eventually will output 192kHz. It will also correct loudspeaker amplitude and phase (and the acoustics of your room as well). RD, once he’d figured out the P-1A’s multifunction buttons and myriad flashing lights, found that “the timbral qualities of instruments seemed more true to life, with less of the synthetic ‘digital’ character that many audiophiles dislike about CD sound.” He much preferred the sound of the P-1A/P-3A together than the P-3A alone (see “Digital Processors’’), finding the pairing more detailed, with greater clarity and a smoother, more grain-free upper midrange and treble. “Enabling Resolution Enhancement (Output Bit Density set to 24) took performance to a higher level still,” he said, voting for Class A for the combo, despite the apparent and significant worsening of the measured performance compared with the P-3A alone, particularly with respect to jitter. This worsening was even apparent with the theoretically better I2S connection between the P-1A and P-3A. This recommendation is therefore provisional. (Vol.24 No.1 WWW)
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[edit]Loudspeaker Systems
Editor’s Note: Class A “Loudspeakers” are sufficiently idiosyncraticand differ enough from one another that prospective customersshould read Stereophile’s original reviews in their entirety for descriptionsof the sounds. I have therefore just listed every system orcombination that at least one of Stereophile’s reviewers feels, as aresult of his or her experience, approaches the current state of theart in loudspeaker design. (Note that, to be eligible for inclusion inClass A, the system must be full-range — ie, feature bass extensionto 20Hz. It must also be capable of reaching realistic sound-pressurelevels without any feeling of strain.)For those unconcerned about the last few hertz of low-bass extension,we have created “Classes A, B, and C (Restricted Extreme LF)” forthose speakers that are state of the art in every other way. Candidatesfor inclusion in this class must still reach down to at least 40Hz, belowthe lowest notes of the four-string double-bass and bass guitar.In addition, such has been the recent progress in loudspeakerdesign at a more affordable level that we have an extra class: E, for“Entry Level.” Someone once asked me why Stereophile bothers toreview inexpensive loudspeakers at all: In effect, aren’t we insultingour readership by recommending that they buy inexpensive models?Remember: It’s possible to put together a musically satisfying,truly high-end system around any of our Class D and E recommendations.That’s why they’re listed — and why you should considerbuying them.
[edit]A
Acarian Systems Alón Circe: $12,000/pair
(Vol.22 No.5, Vol.23 No.4, Vol.24 No.10 WWW)
Avantgarde Uno 3.0: $11,970–$13,970/pair, depending on finish
Includes SUB225 powered woofer modules. Stereophile’s “Joint Loudspeaker of 2000.” (Vol.23 No.9, Vol.25 No.8 WWW)
B&W Signature 800: $20,000/pair (Vol.25 No.6 WWW)
Burmester Audiosystems B99: $49,995/pair (Vol.25 No.6 WWW)
Calix Phoenix Grand Signature: $67,500/pair (Vol.26 No.6 WWW)
Dynaudio Evidence Temptation: $30,000/pair (Vol.24 No.12 WWW)
Focal-JMlab Grande Utopia Be: $80,000/pair (Vol.26 No.9 WWW)
Linn Komri: $40,000/pair (Vol.25 No.4 WWW)
Meridian 8000 digital active: $49,000/pair (Vol.24 No.11 WWW)
Mission Pilastro: $40,000/pair (Vol.25 No.12 WWW)
Revel Ultima Studio: $10,995–$11,995, depending on finish Stereophile’s “Joint Loudspeaker of 2001.” (Vol.23 No.12, Vol.24 No.1, Vol.25 No.6 WWW)
Rockport Technologies Antares: $41,500/pair Stereophile’s “Joint Loudspeaker of 2002.”(Vol.25 No.8 WWW)
Snell XA Reference: $25,000–$30,000/pair, depending on finish (Vol.25 No.4 WWW)
Triangle Magellan: $32,900/pair (Vol.26 No.6)
Wilson Audio Specialties MAXX: $38,900/pair I (Vol.22 No.5 WWW)
Wilson Audio Specialties WATT/Puppy System 7: $22,400/pair (Vol.26 No.9 WWW)
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[edit]Power Amplifiers
[edit]A (Solid-State)
Bel Canto Design eVo2: $2900
Solid-state 120Wpc amp with switching “class-T” output stage.(Class-T is claimed to ‘dither’ the switching frequency, adjust the“dead time” to suit the output devices, and modulate the switchingfrequency with the signal.) “Unimpressive in the best possibleway,” said KR of the original eVo 200.2. “It did not call attentionto itself, and did not color the harmonics or dynamics of themusic.” The 200.2 was Stereophile “Editor’s Choice of 2001.” Inaddition to a “welcome and successful facelift,” the new eVo2has a transformer and power supply twice the capacity of theoriginal. KR was pleased with the changes: “With the full deletionof restricting power-supply limitations, one eVo2 now has thepractical oomph of a pair of 200.2s. Although the upgrade is primarilythat, the eVo2 lacks the eVo 200.2’s slight HF veil, whichhad made me question including it in Class A.” Compared withthe PS Audio HCA-2, he sums up that “the more literal eVo2seemed to more accurately serve the music” (Vol.24 Nos.3 & 11,eVo 200.2; Vol.25 No.12, eVo2; see also KR’s report on the eVo6in Vol.26 No.9 WWW)
Boulder 1060: $19,000
“Can [a $19,000] power amplifier be a bargain?” mused ST.“Can a $19,000 wristwatch?” He then paraphrased Orwell’sAnimal Farm: “All amps are neutral, but the 300Wpc Boulder1060 is more neutral than others…Detailed, dynamic, controlled,with a harmonic presentation that rivaled tubes at theirbest,” but also “breathtakingly fast, bracingly clean, and harmonicallypure… You can have it all: awesome power,headroom, dynamic drive, control, detail, sweetness, sensuality…I have not heard solid-state get better than this — effortlesspower combined with superb transparency… Class A for sure.”(Vol.23 No.11)
Bryston 14B-SST: $5995
The 14B-SST produces high power (600W) with low distortion,and challenged LG’s long-standing assumptions that amps withbridged output circuits don’t image precisely, throw deep soundstages,or have the transparency of non-bridged output stages.He noted the 14B-SST’s “unflappable neutrality” and chameleonlikecharacter: “The Bryston 14B-SST seemed to have nocharacter at all… It ranged from polite to powerful, but no simpleprofile emerged.” However, he did find “solid, massive, deepbass that was rich and expansive,” “first-rate” imaging, “clearand extended” treble, and a soundstage that remained “deep,wide, and rich.” (Vol.25 No.11 WWW)
Bryston 9B-SST: $4695
The 9B-SST (called 9B-THX at the time of the review) boasts fivechannels, 120Wpc into 8 ohms, and is built like pro gear; ie, likea tank. Hand-soldered, double-sided glass-epoxy boards andelaborate grounding scheme front special-grade steel toroidaltransformers. According to JA, “the excellent set of measurementsindicates solid, reliable engineering.” LG was impressed bythis amp’s speed, power, extension, its tightness and definition inthe bass, and its “excellent” midrange. Fully the equal of morecostly amps, with wide dynamic contrasts and “involving”vocals, and sonically similar to previous Bryston ST amps. THXconformance, a 20-year (!) warranty, and a reasonable pricemake this beefy, reliable amp an attractive package — a perfectchoice, suggests LG, for home-theater and multichannel musicsystems. (Vol.23 No.9 WWW)
Classé CAM 350 monoblock: $7000/pair
This handsome solid-state monoblock puts out a hefty 350W.BD described it as a “smooth, highly sophisticated design incorporatingthe very latest in circuit and device developments.…The execution is enough to take an audiophile/engineer’sbreath away.” Resolution of detail was also “staggeringly good,as was their retrieval of ambience cues.” Fast, clean, precise,transparent, open, effortless, dynamic, harmonically rich — alltripped off BD’s tongue as he described their sound. “A superbamplifier — pretty much everything I wanted when I wished formy ideal ‘really good, big solid-state amp,’ ’’ he concluded.(Vol.24 No.1 WWW)
Classe Omega monoblock: $28,000/pair
The 500Wpc (590W at actual clipping into 8 ohms) Omegamono uses a pair of J-FETs as inputs and MOSFETs as drivers, withvoltage amplification provided by a pair of bipolars after the JFETs,and an array of 32 bipolar output transistors following theMOSFETs. BD: “Ironically, given its massive size and immensepower, it was in the reproduction of the tiniest details and subtlestnuances that the Omega was most, and most obviously andimmediately, spectacular. …The notes flowed out with a morenatural speed and jump…and bloomed into a denser, morecomplex mix of tonal nuances.…The soundstage was wide anddeep. …Bottom-end articulation and precision were excellent.…The Omega’s top end was the best of any amplifier I’ve heard.…[It] didn’t sound big and bold or polite and reticent — it didn’tsound any way at all, but simply did what the music asked,no more, no less.” (Vol.26 No.7)
EAR/Yoshino Paravicini M100A monoblock 35,000/pair
“All through my auditioning,” wrote J-10, “I wound up riding thegain, setting the volume for the point just before distortion set in,all at a surprisingly low level — basically, anything over 5W!” This,of course, was before it was discovered that the 100W amps weredamaged. A new pair was sent, and J-10 was struck by the “immediateintimacy, engendered by their extreme transparency andspeed, with an unencumbered, unvarnished sense of musicalreproduction.” JA’s measurements concurred: “Judging by the secondsample, this is an amplifier that delivers excellent measuredperformance, especially since it’s a single-ended design.” The onlygrievance J-10 had was with the transformer-coupled low end:“Not the most slammin’ I’ve heard in the bass.” (Vol.25 No.1)
Halcro dm58 monoblock: $27,990/pair
PB warned about this 200W (260W at clipping) Bruce Candydesign, “Don’t even think about buying a pair of these wondersunless you’re willing to hear everything in the recordings youplay, and exactly what the rest of your components are doing, forbetter and for worse.” Luckily for Paul, he heard only the best:“The dynamics, purity, and tonal transparency were beyond anythingin my prior experience… Detail retrieval bordered on thesupernatural …Soundstaging was superb… Depth was littleshort of incredible… The Halcro offered dynamic performancethat mere mortal amps cannot manage.” When PB comparedthe dm58 to the Lamm M2.1, he described it as “yin vs yang,Apollonian vs Dionysian, Platonic ideal vs Aristotelian reality —that was the difference between the two electronic giants. …Icould not conclude that the Lamm’s ultimate resolution andnoise floor were quite the equal of the Halcro’s, but no otheramp’s are, either. But, but… the M2.1’s ability to consistentlyinfuse a genuinely human presence into recorded music placedit on a peak barely less unapproachable than the solitary Evereston which dwells the Halcro dm58.” ST demurs, however, respectingthe Halcro more than he loved it. Stereophile’s“Amplification Component” and “Product of the Year,” 2002.(Vol.25 No.10, Vol.26 Nos.4 & 6 WWW)
Lamm Industries M2.1 monoblock: $16,490/pair
Delivers 200Wpc through a unique hybrid design featuring solidstateinput stage, 6922/6DJ8 tubed second amplification driverstage, and MOSFET output stage. Whereas the Halcro dm58seemed somewhat supernatural, PB found the M2.1s to be“more approachable and spiritual in their presentation.” Basswas “always rock-solid, right on pitch and bloomy, not boomy,”treble was “smooth and extended,” midrange was “simply offthe charts.” PB was most impressed by the Lamms’ combinationof musical accuracy and soul: “They are among the very fewamplifiers that are not just impressive, but convincing in theirmusical presentation… The Lamms made me believe in themusic I was hearing… What makes the Lamms so glorious isephemeral, beyond being pinned down by mere words, but itcan’t be missed by anyone who loves music delivered with heartand soul.” While they run hot, JA agreed: “In addition to finesound quality, you also get a bombproof design that shoulddeliver that sound for many years.” A bit on the expensive side,sniffs ST. (Vol.26 No.4 WWW)
Linn Klimax Twin: $8995
This 100Wpc, solid-state power amp with a switch-mode powersupply was “crazy-easy to use” if “just a wee bit goosed-up in thebass.” Some bass lines sounded bassier or thicker than usual.However, AD noted “tube-like perfection” and “superb” transparency.Partnering the Twin with the Linn Klimax Kontrol, ADsaid: “Music-making was explicit through it, sonic images ofsingers and instrumentalists coming to life clearly and naturallybetween the speakers, and with nothing unnatural around them— neither grain in the music nor tizz around it… They not onlysing, they sing with uncommon clarity and articulation. And whenit’s called for, they impress with sheer force.” (Vol.26 No.6 WWW)
Mark Levinson No.33H monoblock: $21,000/pair
“If I go on at length about how great the [150W] ’33H ‘sounds,’I’m forced to admit it has a sound,” kvetched WP.“Soundstaging…was phenomenal — deep, detailed, holographic.Tonal balance was natural, and possessed purity and claritygalore. Low-level detail never leapt out at me, but existed naturallywithin the musical gestalt. …Paradoxically, the No.33Hexists on a plane where the news isn’t about more, it’s about less.It had no grain, no grit, no electronic character that I coulddetect. It had no ‘warmth.’ … no MOSFET blur, no transistoretch, no tubey euphony. …It was practically nonexistent —except that it did what it did better than anything else I’ve everheard.” JA’s reference (he bought a pair). (Vol.21 No.1 WWW)
Mark Levinson No.436 monoblock: $12,500/pair,$6250/each
This 350Wpc (500W at clipping!) powerhouse has “Shermantankconstruction, an overkill power supply, and the bestcomponents money can buy,” according to LG. “Listening to theNo.436 was an unusual pleasure,” he wrote. “It provided thesame open, detailed, lush, sumptuous, warm sonic signature Iassociate with the No.334, as well as the same appealing midbasspunch and deep-bass management. …It’s clear to me thatthe No.436’s trimmer chassis, cooler operation, and conveniencegive the owner even more value than earlier ML amplifiers, andthat it represents evolutionary progress in practical amplifierdesign.” (Vol.26 No.8 WWW)
McIntosh MC1201: $15,000/pair, $7600 each
Huge solid-state monoblock using Mac’s patented output transformersis rated at a startling 1200W. Very much theHarley-Davidson of power amps, thought J-10, transfixed bytheir huge, blue, backlit meters, which look pretty dramatic in adarkened room. “147 gut-busting pounds of stainless-steel chassisand beautifully finished, black-shrouded transformers andheatsinks,” he whistled in admiration. “They made a BIG soundin our loft…. I’m talking gobs of bass, effortless power anddynamics … and a huge, floaty, billowing soundstage.” Thehighs did sound “slightly tipped up at the top,” but “No overhangin the highs at all, a clean and detailed midrange tiltingtoward the lush side, and a definitely big, lush bottom end withheavy-hitting grunt, power, and sweep.” JA was agog at the“humongous gobs of low-distortion power it can deliver.”(Vol.24 No.3 WWW)
[edit]A (Tube)
Air Tight ATM-211 monoblock: $9800/pair
A single-ended triode design that uses a big, “impressive-lookingbeast” of a 211 output tube. Low in power — 22W — but worththe price, felt RD: “Beautifully built, the ATM-211 has a touch ofthe exotic in its appearance, and offers outstanding transparency,tonal neutrality, soundstage width and depth, and dynamicsthat make it sound like a much more powerful amplifier.” WhileRD was reluctant to endorse the ATM-211 for speakers whosesensitivity was less than 89dB, he concluded that it was “probablythe best-sounding amplifier I’ve had in my system.” (Vol.25No.10 WWW)
Audiopax Model Eighty Eight: $9970/pair
This 30Wpc single-ended pentode with Perfect Triode Simulationuses two KT88 tubes. “Timbre Lock” bias settings are claimed tofine-tune the amp’s distortion spectrum to produce more optimalcancellation of the speaker’s distortion. RD was first impressed bythe absence of noise coming through the speakers, and by theabsence of mechanical noise from the transformers. RD: “Themusic just seemed to be there, the amplifier (and the rest of thesystem) getting out of the way…[It] seemed to reduce much ofthe harshness and edgy quality that I’d assumed was simply acharacteristic of certain recordings. . . . Resolution of detail was inthe top class…The tonal character…was fundamentally neutral,leaning perhaps in the direction of a little top-end sweetness.”Bass extension and power were sometimes lacking, and high-leveldynamics could be “on the subdued side, with some negativeeffect on the perceived pace of the music.” JA recommendedusing this Braxilian monoblock only with horn speakers that havepowered woofers, such as Avantgardes. (Vol.26 No.5)
Audio Research VTM200 monoblock: $14,990/pair
Hybrid transistor-input/tube-output design using three pairs of6550Cs for 200Wpc continuous power. Balanced input only andvery fussy about cables, warned MF. When it was properlymatched, he found it “musically generous, powerful, rhythmicallyforceful, and ‘fast,’ ’’ and not warm or mellow at all. The rightcable produced a “very coherent” sound with “tremendous driveand authority” atop a solid, well-controlled bottom end. Thelower midrange through the mids had the “airy give of a goodtube amp,” while the upper mids and lower highs were “slightlyopaque and somewhat lacking in liquidity.” The top end was“dead quiet, airy, open, and detailed, with a slight bit of dryness.”Still, MF was never entirely comfortable with string sound,which was “frequently thin and rarely sensuous.” He was somewhattroubled by a “bright zone” that was not ameliorated byusing an all-ARC front end and various brands of interconnectand speaker cable. Careful system matching a must, he concluded,if you’re to get Class A sound from the ’200. (Vol.24 No.1)
Audio Research VS110: $3995
The 100Wpc stereo VS110 uses eight 6550EH output tubes andfive 6N1P input/driver tubes, and differs significantly from earlierARC designs in its use of many smaller, faster, reservoir capacitorsrather than larger, single capacitors. RD: “This is a truly excellentpower amplifier that combines the musicality of tubes with thedynamics and bass extension that characterize the best solidstate,and enough power to drive most speakers to satisfyinglyhigh levels.” JA: “The VS110’s measured performance stronglyindicates that it is very important that the correct output transformertap be used for its owner’s speakers.” (Vol.26 No.8 WWW)
Balanced Audio Technology VK-75: $6000
Balanced Audio Technology VK-150SEmonoblock: $17,000/pair
The VK-75 is a 75Wpc update of the classic VK-60 with a“smooth, easy-on-the-ears quality,” decided RD. VK-75SE($8500) uses the 6H30 Supertube and improves on the standardamplifier in midrange and mid-treble smoothness, as well asdynamics and bass definition. Of the 150W, wired-for-mono VK-150SE, J-10 bubbled, “BAT has reached the pinnacle of nuanceand finesse and more.” He noted a bass presentation characterizedby “deep, delicious, powerful, strong fundamentals goingway the heck down to the deck,” and a transition from the upperbass to the lower midrange that was “tuneful,” “tight,” and“full.” As for the soundstage, “The cushions of air around eachperformer, the utter truth of timbre, the glow from within, theswing and timing that tubes do so well — all were perfectly rendered.”Simply put, “This is a first-rank amplifier… Do I think theVK-150SE is worth the price? In every single way there is to judgesuch amplifiers, the resounding and unequivocal conclusion is:yes.” (Vol.24 No.7, ’75 & ’75SE; Vol.25 No.3, ’150SE WWW)
Cary Audio Design CAD-280SA V12: $4000
The CAD-280SA V12 is really four single-ended class-A amplifiersoperating on a single chassis in a combined balanced configurationusing EL34 tubes, zero feedback, and big, hot-running transformers!It’s switchable from all-triode (sounds best at 50Wpc) toultralinear running (most powerful at 100Wpc). With the Cary runningin all-triode mode, J-10 thought one recording of Ray Brown’sbass sounded wonderfully rich, full, and deep, with an enormoussoundstage. Fabulous midrange, he decided, with an airy soundstagedraped over deep and colorful images. “The V12 is a realnuance-grabber, and the speakers completely disappear.” Needsome oomph for a party? Flip the switches over to ultralinear operationfor a healthy kick-ass 100Wpc. Got your slippers on and a nicerich cabernet next to you? Go all-triode and feel the love.“Performed quite well on the test bench,” said JA. (Vol.24 No.6)
Cary Audio Design CAD-805C monoblock: $8995/pair
Single-ended triode 50W design. Driver and output tubes havechanged since DO’s 1994 review (driver was EL34, now 300B; outputwas 211, now 853). “Power ratings can be misleading,” said ST.“The CAD-805C sounds big. Humongous, in fact… It’s about beauty. . . the palpable presence of the musicians. The exquisitelow-level detail. The perfect timing of the attack and decay of eachnote. Above all, the truth of timbre and the sheer beauty of themusic.” Bass could be better, and the “top end may be a tad rolledoff.But so what? The magic of the music is there.” Particularly withzero feedback, adds MC. “The space champ!” sums up Mr. T. Tubecomplement of current production features a Czech-made KR300B,a Philips JAN (Joint Army Navy) 6SL7, and a Chinese 845 output,with capacitor and power-supply upgrades. Improves on the earliermodel in a number of important ways, thought ST: “The latestversion sounded more powerful: more dynamic, with deeper, better-defined bass. . . . There was more of the stunning immediacy Ilove with low-powered SET amps, a more pristine sound with apurer harmonic presentation.” Of the current 10th AnniversaryEdition, ST offered: “I think where the CAD-805 Anniversaryimproves over previous versions is in its ability to stretch the magicof SETs — to provide the immediacy, delicacy, and the microdynamicmagic of the flea-powered wonders with enough power sothat one is not limited to super-sensitive loudspeakers.” Bass performancewas also improved, sounding “more extended andtight.” ST preferred the 211 output tube over the 845 (both arestandard): “The 845 seemed a little soft and fuzzy. The 211 soundedmore authoritative, assured, and revealing.” (Vol.17 No.1,Vol.21 No.3, Vol.24 No.1; see also MC’s article on feedback inVol.21 No.1; Vol.26 No.8 WWW)
Conrad-Johnson Premier 140: $6795
(See ST’s review in this issue.)
Conrad-Johnson MV60: $2795
Conrad-Johnson MV60SE: $2995
ST found the MV60 — rated at 55Wpc into 4 ohms using twoEL34s — to be “a step up from the MV55 without being a stepdown from the Premier Eleven A. … Compared to the MV55, thehighs were extended and the amp got a tighter grip on the bottomend… I also noted greater resolution of low-level detail andambient information. Especially when used with the Premier17LS line stage, the MV60 gave wonderful layering and depth tothe soundstage. …The MV60 was far more revealing — mostlyfor the better, but occasionally, with certain recordings, for theworse.” The 60Wpc Special Edition version of the MV60 usesSvetlana 6550C tubes instead of Sovtek EL34s, and has a higherbias voltage setting. (Customers who bought MV60s can havetheir amps upgraded for the cost of the new tubes, a laborcharge, and shipping both ways.) ST: “The SE version gave mebetter dynamic contrast. Louder passages soundedlouder…while subtle changes were more apparent. I notedgreater bass extension and authority. I heard a wider, deepersoundstage — a more generous spatial presentation…[It] soundedmore open and extended in the highs, without excessivebrightness or tube glare. I heard increased low-level resolution…The sound seemed more delicate, refined, and, above all,assured. In addition, I heard at least as much ‘midrange magic’with the MV60SE as I had with the MV60.” “A very good choicefor not a lot of money,” he sums up. (Vol.25 No.1, MV60; Vol.26No.5, ’SE WWW)
Hovland Sapphire: $7800
MF couldn’t stop staring at this blue-lit, 40Wpc, two-channeltube amplifier. Aside from its gorgeous looks, MF found it to be“one of the best-balanced amplifiers” he’d ever heard. Its overallpresentation was “velvety yet detailed,” marked by a “lush, fullbodiedsound” that seemed “complete, and nearly ideal.”Though listening was “always compelling and never boring,” it“lacked the last word in air, ambience, and openness.” Indeed,the most unnerving weakness was in the depth of its soundstage.MF: “While it produced exquisitely three-dimensional images, itssoundstaging depth was anything but 3D. The amp’s ability toseparate images depth-wise and to portray depth of field waslimited.” Nonetheless, “The Sapphire got the music right — itsharmonic and textural presentations were world-class.” JA’smeasurements, however, revealed flaws: “Just because an amplifieruses tubes doesn’t mean it also has to have hum, anultrasonic resonance, or fairly high levels of distortion.” (Vol.25No.3 WWW)
Joule Electra Stargate monoblock: $5500/pair
This 30W SET monoblock uses a Balanced Differential Mu Stage— the same driver found in Joule Electra’s OTLs — and theSoviet-era 6C33CB output tube. ST found their harmonic presentationto be “wonderfully alive,” with “superb resolution” and“no softening of the sound.” In ST’s opinion, the Stargate representsthe essence of high-end audio: “Small companies makingsuperior, hand-built products based on belief and passion ratherthan marketing.” (Vol.25 No.3)
Kora Cosmos monoblock: $5900/pair
The 100W, fully balanced Cosmos uses eight Sovtek or Svetlana6AS7G output tubes. MF raved: “While the Kora Cosmos’ seamlesssonic presentation was a high point, the pinnacle was theamp’s very top end. Here was airy, incredibly detailed high-frequencyextension and fast transient response, delivered free ofgrain, grit, edge, or mechanicalness.” However, for all theCosmos offered in the top end, it lacked a bit down below:“There was just a noticeable lack of bass dynamics compared toa well-damped solid-state amplifier, or a hybrid one like the Nu-Vista 300… The Cosmos lacked the last word in bass oomph anddrive.” Still, MF felt other amps could not surpass the Cosmos intheir ability to communicate music’s inevitable flow with arelaxed precision that was “so seductive, revealing, surprising,and comforting.” (Vol.24 No.12)
Manley 250 Neo-Classic monoblock: $9000/pair
PB: “The 250 Neo-Classic had that hard-to-define quality that isinstantly apparent when heard: a fundamental fidelity to themusic. … Its sonic personality was honest to the core and completelyunfussy, treating music as a thing to be loved andcherished, not as a collection of sounds to be picked apart andanalyzed to death.” With a “slightly laid-back” presentation anda “vast” soundstage, the 250s were great at giving PB not onlythe sound but the feel of all the music he played through them.Switching between 100W triode and 250W tetrode modes didn’tchange the 250’s character much, thought PB, but “Triodemode gave a wonderfully intimate sound, more rich and lusciousthan tetrode mode, but exacted a slight tradeoff, with slightlyreduced back-of-the-stage resolution…With big rock and orchestralrecordings, there was a bit more transient snap andimmediacy in tetrode, but with jazz, folk, and small ensemblesrecorded in less imposing spaces, the triode glow was the way togo.” (Vol.25 No.9 WWW)
McIntosh MC2102: $6100
It’s big, it’s got meters, and it retails at less than half the price ofthe MC2000 50th Anniversary Special Edition so overwhelminglylauded by ST and J-10. Four Svetlana KT88s (6550s can also beused) provide the power for each channel: 100Wpc into 8, 4, or2 ohms. ST said the MC2102 produced a slightly softer, gentlersound than its sibling; “less dynamic, less dramatic, but easier onthe ear.” But he “warmed to the gentler, less immediatelyimpressive, possibly less insistent sound of the MC2102.” OurSam concluded that the MC2102 had “tube magic” without itsbass sounding loose or soggy: “[It] gave me McIntosh bass: extended,tight, and above all, tuneful.” He summed up: “For thefirst time, the Mac circuit has appeared in a fully modern stateof-the-art design, delivering clean, clear sound, naturalharmonics, extended highs, and bass with balls.” Go Mac Go!(Vol.24 No.5 WWW)
Music Reference RM-200: $3800
Fully balanced, 100Wpc, hybrid design uses a bipolar transistorinput stage with tube driver and output stages. In terms of overallpresentation, MF was greatly impressed by how close theRM-200 came to his reference Nu-Vista 300: “Its spatial presentationand overall transparency were exemplary. . . . It wasespecially adept at layering 3D images in three-dimensionalspace without spotlighting or tacking on artificial ‘edge definition’.…It’s a real sleeper at a real-world price.” ST concurs:“Class A for this baby. I wish I had got my hands on it first. Abeautifully built, beautiful-looking amp that sounds as good as itlooks.” (Vol.25 No.4 WWW)
Sun Audio SV-2A3: $1250
3.5Wpc! “Underpowered or not, there’s a magic about this amp,”gurgled ST. The SV-2A3 is self-biasing, with no loop negative feedbackand a sound that’s “Glorious! Superb resolution of low-leveldetails. Spacious soundstage and pinpoint imaging…greatbass…harmonic presentation to die for…a lovely liquidity that Ican describe only as ravishing, especially with woodwinds andfemale vocalists.” You get the idea. ST even used the SV-2A3 todrive the full-range, 7'-high, $32,900/pair Triangle Magellanspeakers: “The sound was superb — alive, immediate, harmonicallyright…I heard stunning immediacy. The presentation soundedlike music, not like hi-fi.” Though the amp ran out of power in thebass and during loud passages, “microdynamics (subtle dynamicshadings) were handled particularly well.” Price is for kit; assembledversion costs $2199.80. (Vol.23 No.6, Vol.26 No.6)
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[edit]Headphones & Headphone Accessorie
[edit]A
Cary Audio Design CAD 300-SEI: $3995
The ultimate (tube) headphone amplifier. See “PowerAmplifiers.” (Vol.18 No.9, Vol.23 No.12 WWW)
Grace Design Model 901: $1495
For JM, this headphone amp was “one of the most ‘gotta haveit’ pieces of gear I’ve played with in a dog’s age.” Unusual inthat it accepts digital inputs from 32kHz to 96kHz. JM: “TheGrace 901 performed flawlessly. …[Its] essential sonic characterwas refreshingly rich and full-bodied, without being sludgyor lacking detail.” While designed as a quality-control tool formixing and mastering recordings, the 901 “lacks the frequency,temporal, or cross-feed processing functions that otherheadphone amps offer as means of trying to make the headphonelistening experience more like listening to speakers in aroom.” JA’s measurements indicated that 24-bit data “doesn’tlower the noise floor by as much as the very best D/Asaround… But the 901 is a) a headphone amplifier, and b) itsprice is a small fraction of those cost-no-object behemoths.”(Vol.26 Nos.3 & 8 WWW)
HeadRoom BlockHead: $3333
Using Sennheiser HD-600s with custom balanced cables, J-10found intimacy: “My involvement was total… Through theBlockHead, there was an absolute intimate sound delivered via awarm but acutely dynamic, speedy, and hugely transparentdelivery that rocked my world. . . . The sound was dynamic, withterrific timing, great bass, a fabulous, rich, textured midrange,and extended, sweet highs. The acoustic bass was smashing,powerful, and deep, seeming to define the musical space in away that few components can… The HeadRoom BlockHeadreached, for me, total and absolute headphone reference quality.”JA agrees, and bought a BlockHead to monitor hisrecordings. (Vol.25 No.7 WWW)
HeadRoom Max: $1599
Designed to take advantage of new surface-mount parts, theMax is the finest headphone amp yet from HeadRoom, says WP.While he found it fast, transparent, articulate, and unusuallycapable of exploiting the frequency extremes, he praised aboveall its “coherent articulation of the essence of music… With thisamplifier and a state-of-the-art headphone such as theSennheiser HD 600, dynamic headphone technology has comeof age” and “Electrostats no longer outperform their competition.”Same circuit, employing a different volume control, isavailable in more utilitarian chassis as the Maxed-Out HomeHeadRoom for $999. Spring 2002 auditioning by JA continuesthe recommendation. (Vol.20 Nos.2 & 12, Vol.21 No.2 WWW)
Sennheiser HD 600: $449.95
WP, KR, and ST are unanimous in calling these the best dynamicheadphones they’ve ever heard. “The only ones with which Ihave ever been physically or sonically comfortable,” says KR.“Sennheiser has kept all of the qualities that made the HD 580among the best of its breed, and in several areas has even managedto better it impressively,” according to WP. Says ST, “Themagic of the HD 600s is their midrange — a purity of tone, especiallywhen driven by tubes, that is quite special.” Astonishinglytransparent when driven in balanced mode by a HeadRoomBlockHead, found J-10 in July 2002. (Vol.21 No.2 WWW)
Stax Omega 007 System II: $6265
Stax Omega 717 System II: $6140
The $4030 SR-007 Omega II Earspeaker electrostatic headphonescan be powered with either of two “energizers’’: thenewer, solid-state SRM-717 ($2875) or the similar-looking tubedSRM-007t ($2945). The 007t was “a bit more immediately colorful,with softer and rounder bass and not as extended a top orbottom — but was sweeter and more engaging. The solid-state717 also displayed a full tonal palette: its bass was tighter, itshighs more extended and, yes, less sweet. But it was quite goodin the midband, which was something of a welcome surprise. J-10 summed up: “The Omega II headphone system is anoutstanding choice for those who want clean, clear, fast, revealingsound. If I have to go through life with only one of the Staxamps, give me the tubed SRM-007t.” Soften the sound slightlyby going for the tubes, or keep the greater extension and lovelymidrange of the solid-state SRM-717. (Vol.18 No.3, originalOmega; Vol.24 No.7, System II WWW) |
发表于 2007-11-14 10:45
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