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Details: Written by: Erich Wetzel; Created: 01 June 2014

Note: Measurements performed by BHK Labs can be found through this link.

Parasound Halo A 23 Reviewers' Choice Parasound Products, based in San Francisco, has a reputation for building great-sounding consumer-audio equipment and selling it at reasonable prices. Many readers will be familiar with the connection between the company and John Curl, who since 1988 has designed many of the circuits used in Parasound components. Less well known is that Parasound’s equipment is in use in many professional film-sound and music-production applications. Professional sound design requires well-engineered, high-resolution gear that imposes on the sound as little as possible of its own sonic character. The combination of a talented circuit designer, great sound, and professional use often leads to high-priced consumer gear -- but not at Parasound in general, and specifically not in the case of their Halo A 23 two-channel power amplifier.

Details: Written by: Sid Vootla; Created: 15 May 2014

I first came across Line Magnetic Audio several months ago, while browsing Internet audio forums. There was a great deal of buzz about the company, and especially about their field-coil speaker, inspired by Western Electric’s 755A drive-unit. A search led me to a Chinese website that had some astonishing designs -- massive horn speakers, and amplifiers that took up an entire vertical rack, mounted on casters and sprouting exotic tubes and myriad gauges. They also had more conventional tube amps, one of which, the Line Magnetic 211IA integrated amplifier, I auditioned and used in my recent review of Contrast Audio’s Model One As3-Ref loudspeaker. I was very impressed with the fit, finish, and sound quality of the 211IA, which is based on the EL34 tube. Sridhar Reddy of ARN Systems, the Indian importer and distributor of Line Magnetic products, suggested that I consider reviewing the KT88-based 216IA integrated amplifier ($1850 USD), and was enthusiastic about its sound. I exchanged e-mails with James Hwang, Line Magnetic’s director of international sales, to learn more about the company and its products.

Details: Written by: Roger Kanno; Created: 01 May 2014

Note: Measurements taken in the anechoic chamber at Canada's National Research Council can be found through this link.

Definitive Technology ST-L Reviewers' Choice Not long ago, Definitive Technology made some big splashes -- first with the introduction of their Mythos ST SuperTower loudspeaker, and then of the smaller Mythos STS. These speakers combined high-tech drivers and integral powered subwoofers to provide high-quality sound from gorgeously sculpted aluminum enclosures. Five years ago, when I reviewed the Mythos STS, I was so impressed that I called it “one of the most exciting products that I have come across in a long time.”

Since then I’ve been impressed by other Definitive speakers, including their BP-8000 series of bipolar floorstanders, also with powered subwoofer sections; and the more conventional but extremely high-value StudioMonitor bookshelf models. Based on my experience with those speakers I’ve anticipated getting in for review a pair of Mythos ST-L SuperTowers ($4999.90 USD per pair) more eagerly than I have any product for some time. The Mythos ST-L was first unveiled last September, at the 2013 CEDIA Expo. After an agonizingly long wait, a pair of review samples finally arrived at my door.

Definitive design

So when I first heard that Definitive Technology was working on the new ST-L, I wondered how they could significantly improve on such products as the Mythos ST and STS SuperTower, which included a lot of forward-thinking engineering and were already innovative and excellent. After speaking with acoustical designer Tim Gladwin and reading some of DefTech’s promotional materials, it became clear to me that their approach was to significantly rework every aspect of the Mythos ST in what they describe as a “meticulous rethinking” of the original. Although the Mythos ST-L looks outwardly very similar to the ST, little in the new speaker remains unchanged from the old.

Details: Written by: Thom Moon; Created: 15 April 2014

Musical Fidelity V90-AMP Musical Fidelity has been mostly associated with hi-fi equipment above the entry level. But the firm’s recent introduction of its V90 models brings the brand into a price range perfect for the newbie or budget-strapped audiophile.

The company’s founder and boss, Antony Michaelson, told me that the V90 series was based on no overarching design philosophy. “Each unit has its individual purpose. The V90-LPS phono stage and V90-DAC build on their predecessors (the V-LP and V-DAC, respectively) to be ‘giant killers’ -- as good as anything at the price. But the V90-AMP grew out of my desire to listen to music via AirPlay without a lot of other gear cluttering my desk. So we designed a small, class-D amplifier that can handle both digital and analog inputs. We very much like that it’s unobtrusive in the way it works.

“There was a lot of design and programming that went into each of the products. We’re fortunate to have ‘extremist’ people who get it right. Sometimes, they take longer than I’d like, but in the end, they do get it right.”

Details: Written by: Erich Wetzel; Created: 01 April 2014

Parasound Halo P 5 Reviewers' Choice Today’s preamplifiers are very sophisticated, with wide-ranging sets of features and functions, and Parasound’s Halo P 5 ($1095 USD) is a fine example of a preamp designed to connect together, process, and manage virtually every kind of audio signal and transmission format. Its long list of features and inputs makes a reviewer wonder: in describing all that it can do, where to begin?

I’ll start with the exterior. The P 5’s pleasant appearance, in line with the styling of all of Parasound’s current Halo offerings, breaks none of the aesthetic conventions of audio equipment in its price range. The fit and finish are high for the price, and the P 5’s overall looks leave me with no doubt that most buyers will find it easy to live with. Its substantial-feeling 14 pounds are distributed evenly throughout its dimensions of 17”W x 4.1”H x 13.7”D. The rectangular, metal faceplate, available in black or silver, has nicely rounded corners and, near the bottom, a shallow, rounded groove that runs almost the entire width of the faceplate. At each end of the groove is a large button -- On/Off on the left, Mute on the right -- each surrounded by a soft blue glow (which changes to red when the volume is muted). Between these is a row of LEDs indicating which input is selected. There’s nothing on the faceplate, though, to indicate the sample rate of the digital signal.

Details: Written by: Sathyan Sundaram; Created: 15 March 2014

NAD D1050 After 30 years of the Compact Disc and just a bit less of pervasive computer-based audio, an entire generation or two have grown up listening mostly to digital two-channel music. Still, many two-channel integrated amplifiers and receivers lack digital inputs, and the many audio/video receivers that accommodate S/PDIF connections do so in an uninspiring manner for music. It’s no surprise, then, that the USB DAC has become one of the most popular categories of home audio equipment.

NAD, which predates the digital era, has provided an optional built-in USB DAC for some of its integrated amps, such as the C 375DAC, which I reviewed last year. NAD also offers several models of USB-DAC-equipped components at a range of prices. The D 1050, D 3020, and D 7050 are members of NAD’s Digital Classic series. The D 3020 and D 7050 are integrated amplifiers, not standalone DACs, but all three share a similar appearance: a vertically oriented case that’s finished in matte black that’s smooth to the touch, beveled a bit at the top front, measures 8.1”H x 2.3”W x 7.3”D, and, in the case of the D 1050 ($499 USD), weighs 2.2 pounds (1kg). The D 1050 has one asynchronous USB, two optical, and two coaxial digital inputs, fully balanced (XLR) and unbalanced (RCA) analog outputs, and a headphone output. The D 3020 ($499) adds aptX Bluetooth streaming, 30Wpc of amplification, a subwoofer output, and an infrared remote, while dropping the analog output and half the S/PDIF ports. The D 7050 ($999) restores the extra S/PDIFs and unbalanced analog outputs, adds DLNA, Apple Airplay, Ethernet, and Wi-Fi network connectivity, and boosts the amplification to 50Wpc. The D 1050 supports resolutions up to 24-bit/192kHz from USB; the other models top out at 24/96.

Details: Written by: Ian White; Created: 01 March 2014

Audience ClairAudient One The world of desktop audio has become crowded of late with dozens of excellent loudspeakers, both passive and powered, that offer excellent sound quality at every possible price point, from such manufacturers as Audioengine, Dynaudio, KEF, Pioneer, PSB, Spendor, Wharfedale, and Zu Audio. As more and more listeners drift away from the traditional listening room and into the world of headphones and desktop systems, the demand for compact and/or wireless loudspeakers continues to grow.

Now, in 2014, as listeners aged 25 to 35 increasingly use a laptop or smartphone as their primary audio source component, consumers value convenience, accessibility, and portability. As growing numbers of these younger listeners jump aboard the train offering portable USB DACs, premium headphones, and headphone amplifiers, it’s likely that the next generation of audiophiles won’t be sitting down to listen to music in dedicated listening rooms, and that’s something that the audiophile community needs to be aware of.

Details: Written by: Erich Wetzel; Created: 15 February 2014

Rotel RB-1582 MkII Rotel has been building audio gear for more than 50 years -- a longevity impressive in any business, and especially in audio. Continued ownership by the founding family since inception is an even greater accomplishment. The company originated in Japan, and design is generally done in the UK. Rotel now designs and manufactures models for just about every product category of consumer audio -- their components are distributed by the B&W Group, which owns and distributes Bowers & Wilkins and Classé.

My subject here is what Rotel calls a “classic stereo power amplifier,” the Rotel RB-1582 MkII ($1599 USD). It measures 17”W x 5.5”H x 16”D, and the review sample had traditional black audio-amp styling with some industrial flair added for visual appeal. The center third of the thick metal faceplate is taken up by 15 vertical slots, backed by a textured-plastic panel and surmounted by the company’s deeply engraved name. The finish and feel of the faceplate are very good, and quarter-round corner columns of painted aluminum provide a nice contrast with the metal face. The only control is the Power button at the top left: a large round pushbutton surrounded by a brightly illuminated blue ring. Though at first this was interesting, I found the lighting effect harsh and somewhat bothersome in a dim room. A "dimming ring" is included to fix this.

Details: Written by: Oliver Amnuayphol; Created: 01 February 2014

Graham Slee Revelation M It’s hard to believe that over ten years have passed since Graham Slee Projects launched the Era Gold V phono preamplifier. With its small size, restriction to moving-magnet cartridges, wall-wart power supply, and unassumingly pedestrian appearance, the Era Gold V won over both vinyl enthusiasts and reviewers alike. Steady improvements in the Era Gold V’s cosmetics and sound have kept it at or near the top of the $1000 phono preamp category.

That wasn’t enough to satisfy Graham Slee. He’s introduced a plethora of phono stages in the decade since, including two based on the Era Gold V: the Jazz Club, which boasts a choice of equalization curves for non-RIAA records; and the Reflex, a super-tuned upgrade.

Slee eventually saw fit to combine the Jazz Club’s selectable EQ and the Reflex’s superior sound in one tidy little chassis. The result is the Graham Slee Revelation phono preamplifier ($1599 USD).

Details: Written by: Tim Shea; Created: 15 January 2014

Note: Measurements performed by BHK Labs can be found through this link.

Liberty B2B-100 Reviewers' Choice With the digital revolution lowering the cost of processing bits and bringing true high-resolution music to the masses on the relative cheap, very good and affordable vinyl rigs popping up left and right, affordable and impressive class-D digital amplifiers proliferating at a seemingly accelerating rate, and cutting-edge technology trickled down to lower-priced speakers, many of them sounding almost unbelievably good -- well, it’s a good time to be an audiophile. It’s also getting easier and easier to build a downright fantastic-sounding, no-apologies-needed audio system for a fraction of what it would have cost not that long ago. And costs are being lowered from the other side as well: increasingly, manufacturers are selling products directly to customers with generous demo and return policies, virtually halving a product’s final price. Unfortunately, in my opinion, this last trend is a direct cause -- and effect -- of the decrease in the number of good high-end retailers.