Esoteric audio research 802 preamplifier definition
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Friday night listening
Robert Harley reports on the technology and sound. Robert Harley executive. Jonathan Valin acquisitions. Neil Gader music.
Mark Lehman creative. Torquil Dewar art. Shelley Lai production. Aaron Chamberlain designer. Mikki Bullock founder;. Joey Weiss 2 December the absolute sound senior.
Peter Breuninger, Anthony H. Reprints: Jennifer Martin, Wrights Reprints: , , jmartin wrightsreprints. Cordesman, Wayne Garcia, Subscriptions, renewals, changes of address: U. Greene, Ted Libbey, or outside U.
Lamar, G, Austin, TX or e-mail rharley nextscreen. NextScreen, LLC. Lamar, Bldg. G, Austin, Texas Tom Martin info theabsolutesound. Jim Hannon advertising. Lamar, Bldg G, Austin, Texas Periodical Postage paid at Austin, Texas, and additional mailing offices. Printed in the USA. After two decades of slow but steady improvements, the last five years have brought forth an explosion of innovative techniques that have made dynamic loudspeakers more transparent and resolving, with vastly lower levels of tonal and dynamic colorations.
This trend is self-perpetuating. When one loudspeaker manufacturer ups the ante, its competitors are compelled to respond with even better designs. Diamond reportedly has the ideal properties for a driver diaphragm of high stiffness and low mass.
Moreover, the new tweeter is considerably improved over the previous generation. The magnet structure has been redesigned, with additional magnets positioned at the rear of the back plate, on top of the top plate, and on top of the center pole. This configuration increases the magnetic field strength in the gap, resulting in greater efficiency and cooler operation. That is, at high listening levels the treble sounds rolled off on musical peaks, and the treble dynamics are muted in relation to the rest of the spectrum.
This is one reason why extremely highsensitivity horn loudspeakers can have such lifelike midrange and treble dynamics—the drivers are never run anywhere near their dynamic-compression threshold. In addition, cooler operation confers greater reliability. The dispersion is wider and more uniform than in the previous tweeter, which aids in image focus and precision. The tweeter diaphragm itself is created by vapor deposition of diamond on a substrate that is later removed.
The ultra-thin diaphragm is then precision cut with a laser and protectivecoated with platinum. The dome itself is extremely fragile, which is why it is covered with a magnetically attached mesh grille. The grille can be removed for a listening session, resulting in a slightly more open sound. The tweeter is mounted in a Nautilus tube, the long tapered structure at the top of the cabinet.
The bass driver, crossover, and input terminals are all new within the core platform of the Series. The new magnet material neodymium , along with the symmetrical dual-magnet arrangement, creates a greater and more uniform field strength in the gap for increased linearity and lower distortion. The increasing use of exotic capacitors has been one of the driving forces behind the recent improvements in dynamic loudspeakers. Once reserved for ultra-expensive products from tweaky manufacturers, these capacitors have found their way into a much wider range of products as designers increasingly recognize the role of capacitor quality.
The crossover is minimalist, with first-order slopes in the high-frequency section. Crossover frequencies are Hz and 4kHz. As a final touch to the crossover redesign, the custom input terminals are now made from oxygen-free, high-purity copper rather than brass. The enclosure is raised off the base, providing an air gap for the massive, flared, downward-firing port.
The Kevlar midrange driver is also unusual in that the surround is extremely narrow— almost invisible, in fact. The FST is a narrow ring of foamed polymer that radiates very little sound of its own, and also reflects less energy back into the cone. Other refinements for the new series include magnetically attached grilles, bright trim rings, and the addition of piano black lacquer finish in addition to rosenut and cherrywood. The spikes, for example, are large, elaborate devices that are cleverly designed and nicely finished.
Moreover, the D comes out of the box on rollers in place of the spikes, allowing easy movement and fine-tuning before spike installation. The black lacquer of the review samples was gorgeous; the spherical midrange enclosure is polished by hand and is sprayed with seven coats of lacquer. In my room, the D exhibited even more of the qualities that made it a standout at CES.
This new iteration vaults the D into the territory occupied by loudspeakers with esoteric marques, most of which are priced considerably higher. The D was transformed into such a strong contender by its extremely low levels of midrange and treble coloration and vastly improved dynamics and resolution, all of which made it less present as a sound source and more of a transparent window on the musical performance.
Starting with the overall tonal balance, the D had warm, full, rich bass and midbass, and a relaxed midrange and treble. This is a very easy loudspeaker to enjoy music through by virtue of its lack of treble forwardness or etch, warmish tonal balance, and midrange liquidity. Despite an overall balance that was smooth and unaggressive, the D had remarkable treble resolution. A significant contributing factor to the treble resolution was the lack of etch, grain, and glare, along with the ability to portray extremely fine transient information.
The D reproduced low-level transient detail such as brushes on cymbals with great finesse and refinement. This high-frequency transducer was astonishingly clean, dynamic, and free from tizziness even when pushed very hard. Most tweeters would wither trying to reproduce so much high-frequency energy at this playback level, but the D sailed through with no hint of strain. Most loudspeakers have you reaching to turn down the volume during such passages; not the The wonderful arrangement remained clean and precise rather than degenerating into a smeared blur, even at extremely high listening levels.
II and V-Ray Mk. The D was transparent enough to easily resolve changes in upstream components, AC power cords, and tweaks. The D was extremely open and transparent, giving me the distinct impression of hearing through the playback system back to the original musical event.
Despite the generous bass weight, the bottom end was clean and articulate. With a sensitivity of 90dB, a minimum impedance of 3.
The 90dB sensitivity rating is truthful, in that it is measured with a drive signal of 2. Sensitivity specs are often exaggerated by applying a drive signal of 2. The Wpc Simaudio i integrated amplifier had more than enough power, even when reproducing the massive dynamic contrasts of Reference Recordings Some loudspeakers benefit from a really big amplifier the Vandersteen 7s, for example but I got the impression that the Ds left nothing on the table when driven by Wpc.
In soundstaging, the Ds hit it out of the park. The pair of loudspeakers threw a wide, deep, seamless panorama in front of me with absolutely no trace of the sound being attached to the two enclosures. The stage extended well beyond the loudspeaker boundaries, and had tremendous depth. In addition, the soundstage had amazing precision and focus, with instruments firmly anchored in specific locations. Image outlines were razor sharp and delineated with surgical precision, qualities that heightened the sense of realism.
The Ds beautifully resolved bloom and air around instrumental outlines, along with a holographic dimensionality, particularly with the Audio Research Anniversary Reference preamplifier in the system. To their credit, the Ds easily resolved the spatial differences between source components, amplification, and cables. It delivers many of the qualities we associate with esoteric designs from small, tweaky manufacturers, but in a relatively mainstream product. Make no mistake; this is a lot of speaker for the money.
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Originally Posted by MAC Thanks guys It was not easy convincing wife to have the dedicated room. She has grown to enjoy it now to. I just try to keep her involved and part of it. Good for the room and good for the marriage. Find all posts by Masterlu. Originally Posted by Masterlu.
Sonic Frontiers Line 1 Preamplifiers
Site Home : Materialism : One Article. If it is built in Japan, audio equipment is designed by engineers who couldn't get jobs designing video equipment. If it is built in the US, audio equipment is designed by engineers who couldn't get jobs designing high frequency electronics or computers. There are a few exceptions to these rules, but they are generally true.
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Located in the United Kingdom, Astoria Studio is widely recognized as one of the most respected recording studios in the world. Owned by David Gilmour of Pink Floyd, Astoria has served as recording venue to some of the most renowned recording artists in the music industry. Our comparison point included both standard mains cables and other esoteric cables. We were particularly impressed with the sense of phase coherence that Shunyata products delivered, giving noticeably better imaging, depth and clarity. We tried many different areas of our signal path, all benefited. With digital sources it was almost as if we had switched from
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B&W 802 Diamond - Sonus Art
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The SoundStage! Network Buying Guide features summaries of all stereo and home-theater products reviewed in the calendar year across all of our publications. The Buying Guide is subdivided by product and price, with each article including pricing details, a review summary, a full-review link, and product-award indicators. Loudspeakers reviewed on the SoundStage! Network in in the context of a stereo system.
Esoteric Audio Research 660 Manual
View Full Version : A photo of your Squeezebox setup please. The kitchen is where most music gets listened to, so it seemed a good idea to have a reasonable system there. It sounds great. Sleestack, How much was the power suppply for the SB3 you have and did you get it from mauimods? Thanks, Bill Yes,I bought it from Anthony. It was purchased with several other items, so I don't know the exact price.
Forum Rules. That's my point Jack. Yes, I've had many Wilson's, and I've changed the resistors a few times.
Excuse, I can help nothing. But it is assured, that you will find the correct decision. Do not despair.
This post is just awesome;)
Indeed, and how I had not guessed before
Excuse, that I interfere, but you could not paint little bit more in detail.