It is the holiday season and I am going to give you a present. This is the culmination of a long and winding and interesting and frustrating and expensive journey from that first audio component to hearing one that had me saying, “That’s the one!” It is the story of developing specific ideas about good sound reproduction, validating or replacing those concepts, and finding that some of these tenets no longer applied. Some of these tenets include:

* Only low powered amplifiers, preferably single ended tube amplifiers, can sound really good.
* High powered amplifiers can reproduce the full dynamic range of music.
* Only tubes can produce the full harmonic envelope of acoustic music.
* High bias, Class A operation is necessary for solid-state amplifiers to sound good.
* Tube amplifiers are best at creating the illusion of a real acoustic sound stage.

Each of the above has been true at certain times in the past and with certain associated components and loudspeakers. We can generally agree that most early solid-state gear was not an advance in sound quality over the tube-based components that they attempted to replace. It was a case of “one step forward and two steps back”. We gained features and possibly reliability, but the trade-off was too great: those early transistor products often sounded like fingernails on a blackboard. Having mostly lived with tube amplifiers for about 20 years and, over the last year, performed a listening survey of some of the better solid-state amplifiers, I can state with some certainty that each technology has sonic advantages. The quest is, and has always been, to find the perfect marriage of the best sonic characteristics of the different technologies.

Tube sound is typically more dynamic – both large scale (macro) and small scale (micro). It is harmonically richer, revealing far more of the fine and delicate structure of every voice and sound, without any sense of grain or harshness. Solid-state sound is usually described as having deep and tight bass and extended high frequencies, with sound that is often marred by a somewhat flat soundstage and usually rendered painfully with grainy and harmonically thin higher frequencies. The better solid-state amplifiers have a wonderful sense of focus that renders an instrument in a very specific point in space and keeps that image intact. The better tube amplifiers have far superior harmonic development and warmth in the upper frequencies. Over the last few years, the better amplifiers of each technology have begun to sound more and more alike. My preference has been to have the much more satisfying realistic harmonic resolution of tubes and simply accept their maintenance costs and relative sonic deficiency in the bass, however small.

Marantz MA-9S2 Power AmplifierThe list above has one tenet that I continue to hold true: high powered amplifiers are necessary to reproduce the full dynamic range of music with most speakers. This became apparent when I changed from the 100 Watt per channel Bella Extreme 100 to the 250 Watt Manley Neo-Classic 250s. Both models are monophonic tube amps. While the “Bellas” are sonically excellent, early in the audition of the Manleys it was apparent that the latter’s extra power was indeed sonically significant. Most of my listening is in the 10-30 Watt range with speakers of average efficiency. When you realize that a 10 dB peak pushes that power requirement from 30 Watts to 300 Watts, the need for lots of amplifier headroom becomes obvious. My personal “must have” list for the perfect amplifier includes deep, powerful and high resolution bass, an enormous and accurate spatial environment, richly detailed midrange, and high frequencies that are smooth and absolutely grain-free while preserving the life-like micro detail of such instruments as cymbals, flutes and piccolos, bells, and soprano voices. Add in high power, low maintenance requirements and also, in these “green” times, low heat output. This is where the Marantz MA-9S2, a 300 watt monophonic golden beauty, weighing 82 pounds with a list price of $7499.99 each, entered the listening room and life of this writer.

# power output:

* 300 watts into 8 ohms (20-20,000 Hz) at 0.01% THD
* 600 watts into 4 ohms (20-20,000 Hz) at 0.01% THD

# frequency response 3-150,000 Hz (-3dB)
# signal-to-noise ratio (IHF-A): 123dB
# front-panel level meter indicates output power
# preamp-level RCA and balanced 3-pin XLR inputs
# rear-panel attenuation dial (0, -3, -6, -9, -12, -∞ dB)
# full current feedback amplifier stage
# fully balanced amplifier design
# double-shielded, low-noise toroidal transformer
# all copper-plated chassis and double layered bottom plate
# WBT® speaker terminals
# 2 sets of speaker terminals for biwiring
# detachable AC power cord
# champagne finish
# weight: 82.4 lbs
# 18-1/16″W x 7-13/16″H x 18-11/16″D
# two MA-9S2 amplifiers are required for stereo operation

www.marantz.com

About 10Audio

The AQVOX Phono 2CI phono preamplifier is a surprise in a number of ways. I recall a lot of discussion about the high cost of “audio jewelry”. This cosmetic feature added elaborate front panels and other adornments to audio components that may have added some sonic benefit but certainly added significantly to the cost. In recent years, I am seeing less of this extravagance in high end components. Most manufacturers are making gear that is very well constructed and nicely appointed, striking a good balance between offering gear that provides pride of ownership without unnecessary or overblown prettiness. I would rather pay less for quality and functionality than pay more for quality and functionality wrapped in eye candy.

But I digress. The AQVOX Phono 2CI phono preamplifier is very well built, both inside and out. There is one internal adjustment to bypass the output coupling capacitors which are not needed if your preamplifier has DC blocking input capacitors. The top cover can be easily removed by first removing one of the extruded aluminum side panels. All of the cartridge and gain settings are changeable from the rear panel. The technology of the Phono 2CI is a departure from any other phono preamplifier that I know. Where others amplify the cartridge’s voltage, the Phono 2CI amplifies the current. This reportedly results in an amplifier with lower distortion and noise. Interestingly, and as a welcome feature, no changes to loading are required to optimize the interface between the phono cartridge and the phono stage. Just connect your phono cable to the balanced inputs and you have a perfect interface. Just make sure that if you have RCA connectors on your phono cable, it is wired so that the shield is not grounded. This preserves the balanced signal from the cartridge – which being just a coil of wire is inherently balanced. AQVOX supplies specially wired RCA-to-XLR adapters if you need them. Standard RCA inputs with adjustable loading and gain are also provided. I tried these connections and found the balanced inputs to sound significantly better, moving the rating up the “LP Scale” about 2 LPs. That is a big improvement.

The Phono 2CI also offers balanced outputs on XLR connectors in addition to standard RCA outputs. With XLRs, you can have a balanced signal from the phono cartridge pins to your amplifier. I have always found a true balanced connection to sound better than the RCA alternative. Other features include settings for gain - up to 75dB, ground lift, input impedance and capacitance on the RCA inputs. The front panel offers separate gain knobs for the left and right channels. The purpose of these adjustments is to match the cartridge output to the Phono 2CI for the best sound quality to accommodate cartridges with outputs from 0.1mV to 3mV. This is adjusted for the best soundstage, tonality and dynamics. Although not intended for this purpose, I found that they are also capable of correcting channel-to-channel balance issues with a phono cartridge within a narrow range. They can also be used to match the overall phono gain to the gain of other components, again within a narrow range that does not adversely affect sound quality. The unit is available in black or silver.

Specifications

Input Sensitivity at 1Vrms out-XLR:
RCA Input sensitivity: 2,4 - 12 mVrms/1 kHz
RCA Input sensitivity: + 6dB: 1,2 - 6 mVrms/1 kHz
RCA Input sensitivity: +20dB: 0,4 - 2 mVrms/1 kHz

RCA Input Impedance:
47 kOhm, switchable to:
1 kOhm and 100 Ohm

RCA Input Capacity:
47pF internal, switchable to:
+ 47pF, +100pF, +220pF, +470pF
The values add up to each other, summing up to max. 884pF

RCA Gain Factor:
maximum ca. 68dB

XLR Balanced Current Amplification Input:
The amplification at the XLR input is generally higher as at the RCA input, but varies depending on the output voltage and impedance of the Moving Coil cartridge. Providing 55-76dB gain, this input is suitable for all High-Output and Low-Output-MCs down to 0.10mV noise free. No step-up transformer required.

RIAA Equalization with Neumann Constant:
+/- 0,25dB

Front Control Input GAIN:
variable per channel +14dB

Subsonic Filter:
-9dB/10 Hz, -18 dB/5 Hz, -48 dB/2 Hz

THD + Noise:
1V out-XLR: 0.009% at min., 0.04% at max. MM-RCA-In
1V out-XLR: 0.019% at min., 0.09% at max. MC-RCA-In

Signal-to-Noise Ratio (S/N) IHF-A measured:
1V-Out-XLR-MM-RCA-In:
76dB Flat, 84dB A at min., 63dB Flat, 71dB A bei max.*
1V-Out-XLR-MC-RCA-In:
69dB Flat, 78dB A at min., 57dB Flat, 65dB A bei max.*

www.aqvox.de

About 10Audio

I had just about given up on CDs. There were some recent changes to my digital playback system and CDs were sounding better than they ever had in my system. Even so, vinyl LP playback still made CDs seem like second class citizens. Sure they have a place in the audio landscape, but for enjoying music to the fullest, those old long-playing records provided far more accomplished and enjoyable listening experiences. With the arrival of the Marantz SA-7S1 player, the status quo was about to change.

Marantz SA-7S1 CD/SACD PlayerThe mighty Marantz MA-9S2 Reference Series amplifiers had, just a few months before, redefined for me what a solid state amplifier could do. Having been a confirmed, die-hard, inconvertible tube amplifier lover for decades, the Marantz amps rocked my world. Long story short: they are my reference amplifiers, which pretty much tell you the whole story about these great amplifiers. If a Marantz Reference Series amplifier could deliver exceptional performance, maybe lightning could strike twice from the same manufacturer and their CD player would change my mind once again.

I plugged in the $6500 Marantz SA-7S1 CD/SACD player, set a CD to replay, and let it cook for 500 hours with a resistive load on the outputs. Lest someone suggest that the break in was biased, it was performed using rock music and classical, test tones and new age, and every day I changed the CD to a different genre. I even included some light country. That chore complete, I connected the Marantz to my preamp and hit “play”.

And my jaw dropped.

From Marantz:
MSRP: $6,999.00

Are technical accomplishments important in themselves or important for the benefits they bring?  Marantz firmly believes the latter and proudly presents the SA-7S1 as a technical tour de force with one goal – to let you hear more musical detail than you thought possible from CDs and SA-CDs.  After all, what else is Marantz about?

• Plays SA-CD(Stereo), CD, CD-R/RW
• Current Feedback Circuitry
• Full Balanced High-Speed Analog Circuit with HDAM®-SA2
• Newly Designed SACDM-1 Aluminum Transport
• Digital Isolator for D/A Grounding Separation
• Marantz Original PEC (Phase Error Compensation) PEC777f2
• High Accuracy NPC SM5866A5 D/A Converter
• Low Jitter Internal Clock
• External Clock Input
• Phase Inversion for Balanced Output
• Toroidal power transformer w/Copper Shield Case
• All Copper Plated Chassis w/ Double Layer Bottom

www.marantz.com

Marantz PM-15S1 2-Channel Amplifier Rated: 5 of 5 Read the Reviews

Marantz MA-9S1 Rated: 5 of 5 Read the Reviews

Marantz MA-6100 Rated: 5 of 5 Read the Reviews

Marantz SM-17SA Rated: 5 of 5 Read the Reviews

Marantz SM-11S1 2-Channel Amplifier Rated: 5 of 5 Read the Reviews

MINI-REVIEW: Cary 306 Professional CD/SACD Player

The latest version of the very well received Cary 306 offers a digital-to-analog converter section that can be used for external sources. In the current climate, which is moving towards greater use of music servers and digital files with computer integration into our audio systems, the Cary DAC is a welcome feature and one that should be included in any new Marantz “SA7-S2”. (Looking more closely at this trend, the –S2 version should have USB and possibly even Firewire inputs.) The DAC section of the Cary offers inputs for S/PDIF on RCA and Toslink connections and balanced AES. It also offers selectable sampling or up-sampling rates of 44.1, 96, 192, 384, 512 or 768 kHz sample rates for CD playback to the analog audio outputs, and 44.1, 96 or 192 kHz for the digital inputs, all at 16, 20 or 24 bit depth.  The full function remote control takes some getting used to, but allows remote changing the sampling rates which is great for fine tuning the listening experience and endlessly distracting with always trying different rates for different CDs. I usually preferred either 44.1 or 384 kHz for CD playback, but YMMV.

next…

Stats on the Cary 306 on product page.

About 10Audio

I love music. I love not just listening to music, but the whole music experience because there are so many levels and “components” involved in the whole subject. From music composition, to playing instruments, to recording and production, and finally to playing music on component audio systems, the subject is vast, creative, and personal. There is some area for each and every person in which to participate. Regardless of any creative or technical ability, every person can find some music-related activity where their particular talents or yearnings will find an outlet. The fact that there are so many successful endeavors in every area of the musical universe is both a testament to the creativity of our species and absolute proof that every style, every characteristic, every quality of every area of music will find a welcome audience.

I offer the preceding observation to introduce the Nuforce Reference 9 Version 2 Special Edition power amplifiers to you and to prepare you for a set of observations that will likely find resonance with other music lovers, if not the majority.

The main comparison amplifiers are the outstanding Marantz Reference MA-9S2 amplifiers, which are 300 Watt mono blocks. Their linearity, resolution, dynamic abilities, and long term enjoyment have earned them true reference status. To compare the $5,000 Nuforces to $15,000 reference amplifiers might seem unfair, but this is the playing field today at 10 Audio. The rest of the review system consisted of a SOTA Cosmos IV turntable, TriPlanar VII u2 tonearm, Miyajima Shilabe and Air Tight PC-1 moving coil phono cartridges, Manley Steelhead phono preamplifier, a Prism Orpheus studio AD/DA converter used with a Bob’s Devices step up transformer and Pure Vinyl software RIAA used as another phono stage, Cary 306 Professional and Marantz SA-7S1 CD players, and Marantz SC-7S2 and Sonic Frontiers Line 2 SE+ preamplifiers. Cables included Mogami interconnects, Audience Au24 E and Element Apollo speaker cables, Audience, Element and DIY power cords. A PS Audio Powerplant Premier provides the AC for all of the front end gear. Loudspeakers included my reference Dali Euphonia RS3 monitors, Dali Mentor 5s from the home theater system, JL Audio f112 and Velodyne Optimum 12 subwoofers, and little Solid Team speakers from my computer just to cross-check some of the findings below.

Nuforce Reference 9 V2 SE Specs and info from Nuforce:

The Ref 9 V2SE adds refinement and delicacy to the already excellent-sounding Ref 9 V2. The When used in less than the most revealing systems, the SE’s advantages may not be fully realized. As excellent as the Ref 9 V2 is, the Ref 9 V2 SE takes its strengths to an even higher level. These include:

• Sweeter highs, without any compromise in frequency extension.
• A smoother and more palpable midrange, while preserving the natural harmonic structure for which the Ref 9 V2 is famous. The Ref 9 V2 SE is one of the few amplifiers in the world that does not impart a signature on the music.  This results in a more natural and relaxed presentation.
• The bass remains the amp’s a huge strength.  The Ref 9 V2 SE has same tightness and texture of the standard  Ref 9 V2, but with a little more weight.
• The stage is more coherent and deeper.

In summary, the SE’s sound is more neutral and liquid, with a more relaxed yet powerful soundstage presentation.

NuForce Reference 9 Rated: 5 of 5 Read the Reviews

NuForce Reference 8b Rated: 5 of 5 Read the Reviews

NuForce IA-7 V2 Rated: 5 of 5 Read the Reviews

NuForce P-8 Rated: 4 of 5 Read the Reviews

NuForce AVP-17 Rated: 3 of 5 Read the Reviews

About 10Audio

Passion. Our hobby/interest/vocation is all about passion. There is a lot of passion in the high-end audio universe and James Bongiorno, the head of Spread Spectrum Technologies, has a consuming passion for his creations. He has been building and refining the Ampzilla amplifier concept since 1974 and holds a patent on the design. From his Web site:

“At the time, James was the director of engineering at SAE. Prior to that he had been the director of engineering at Dynaco where he created the renowned Dynaco 400. While at SAE, James conceived the concept of the full dual differential full complementary amplifier topology which has since, for the last 27 years, become the defacto world standard road map for virtually all high end power amplifiers made today. Ampzilla was originally designed as a construction project for Popular Electronics Magazine. However, the response was so overwhelming, after the rave reviews, that James left SAE to found “The Great American Sound Co. Inc.” (GAS CO.). The rest was history.” Read more here.

The Ampzilla 2000 amplifier, a 200 Watt (into 8 Ohms) mono block, is the latest thinking from the mind of James B. It is relatively compact, runs warm but not hot, and weighs a manageable 52 pounds. There is a single pair of speaker terminals and inputs for RCA and XLR interconnects. Interestingly, in the Owners Manual, the point of manufacture is listed as Cullen Circuits, also the manufacturer of the Wyred4Sound ST-1000 amplifier, which was reviewed here on 10Audio.com. Based on my experience with the high quality of other Cullen Circuits’ products, SST’s selection of Cullen to build his amps was a wise choice. Personally, I was especially pleased to see the selection of an on-shore, US manufacturer to produce a new product.

Spread Spectrum Technologies Ampzilla 2000 Amplifier Specs:

About 10Audio