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In his review of the Cary">http://www.stereophile.com/amplificationreviews/1098cary">Cary Audio Design CAD-572SE monoblock power amplifier, Martin Colloms explains, "It's no accident that low- and zero-feedback triode technology is now the mainstay of the Cary amplifier line." MC then reports on whether or not this approach has succeeded. RObert Deutsch adds some further thoughts.
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This week we have two John Atkinson speaker reviews from the February 2004 issue. First, JA gets his hands on the B&W">http://www.stereophile.com/loudspeakerreviews/204bw">B&W 705 loudspeaker, commenting, "When I heard about the company's new 700 series of speakers, based on the technology featured in their cost-no-object Nautilus series but priced to sell in the real world, I asked to review the $1500/pair 705."
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Does the SLP in the Cary">http://www.stereophile.com/amplificationreviews/204cary">Cary SLP-98P tube preamplifier's name stand for "sweet little preamplifier"? Art Dudley sets out to determine if Cary's latest version in the SLP preamp series lives up to the moniker.
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John Atkinson headed to the Midwest last year to record another audiophile disc. In Deep">http://www.stereophile.com/musicrecordings/304deep">Deep River: the Cantus Spirituals Project, JA describes the process of capturing a chorus of male voices with high-rez digital equipment. Atkinson notes, "Presented with the magnificent acoustic of Sioux Falls' 1500-seat Washington Pavilion of the Arts & Sciences, the question facing me was how to present what are still fairly intimate works while taking advantage of that supportive acoustic."
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Bits is bits? In the December 1990 issue, John Atkinson explored in "Jitter">http://www.stereophile.com/reference/1290jitter">"Jitter, Bits, & Sound Quality" why digital audio turns out to be a complicated process. He writes, "As my violin teacher used to say, 'The right note in the wrong place is the wrong note.'" And so it is with digital data, as JA explains in this groundbreaking report.
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From the March 2004 issue, John Atkinson finally gets to listen to the Sonus">http://www.stereophile.com/loudspeakerreviews/304sonus">Sonus Faber Cremona loudspeaker and explains, "it took rather longer than I had expected to set the Cremonas up in my listening room. But, like everything worth experiencing, the wait was worth it."
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From the March 2004 issue, Michael Fremer goes a couple rounds with the Theta">http://www.stereophile.com/amplificationreviews/304theta">Theta Digital Enterprise monoblock power amplifier, exclaiming, "Monoblock power amplifiers seem to be moving in and out of my listening room faster than green-onion salsa from Chi-Chi's." So how does the Theta stand up to the competition? MF lays it out.
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From the March 2004 issue, Kalman Rubinson files his report on the Adcom">http://www.stereophile.com/amplificationreviews/304adcom">Adcom GFA-7805 five-channel power amplifier. KR notes, "It was easy for me to decide on their top-of-the-line five-channel powerhouse, the GFA-7805, because it embodies the same spirit that the GFA-555 did in its time: lots of power, no frills, good value."
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From the January 1996 issue, Jonathan Scull listens closely to the Wavelength">http://www.stereophile.com/amplificationreviews/196wavelength">Waveleng… Audio Cardinal XS monoblock amplifier. Single-ended tube designs such as the Wavelength can inspire controversy within audiophile ranks, so Scull carefully sorts the plusses and minuses.
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From the December 2001 issue, Robert Deutsch tries something completely different when he fires up the 47">http://www.stereophile.com/amplificationreviews/120147">47 Laboratory 4706 Gaincard power amplifier. RD notes, "The pursuit of simplicity in the design of solid-state audio electronics is perhaps best exemplified by the products from 47 Laboratory." Less is often more, but with the 4706 Gaincard, is it better?