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Stereophile confirms new gear is getting worse....

It appears that "high end" audio gear is moving backwards rather than forwards. If you doubt this, take a look at the November 2003 issue and the test results of the electronics reviewed.

As a case in point, the Pass XA160 mono-block amps that were reviewed perform pretty horribly. While most folks that read these forums know that i'm not shy about being a fan of Nelson Pass' work, i don't have much good to say about these over-priced boat anchors. Most will probably remember what a hard time that i gave the PS Audio HCA-2. In effect, most of the comments that i made about that amp apply to this amp. From what i can tell, the comments that i made about the PS may not be strong enough as compared to how poorly the XA160's performed, especially at the price. Lack of current output, high distortion figures, non-linear frequency responses, the ability for the loudspeaker to modulate the output of the amp, etc... were all evident in the test results. To top it off, the input and output impedances will make this unit quite sensitive to the components ( preamp, speakers, etc...) that it is mated with.

Regardless of who's name is on this unit, how "pretty" it looks ( gorgeous ), what it weighs (200 lbs per monoblock) and the parts quality inside, quite honestly, this unit performed like a really crappy "vintage" ( read that as "low tech" ) tubed unit from the days prior to audio civilization. All this "eye candy" and a sore back for only $18K a pair !!!

As we move to the next product review, we look at the BAT VK-51SE. While this unit was more consistent than the Pass, some of the design choices made are obviously not good ones. The most obvious flaw that i see with this unit is that it changes sound / tonal balance as the volume is varied. Even when the gain control is adjusted for the flattest response, the top end starts sloping off gradually above 5 KHz. As you increase the gain, you now introduce low frequency roll-off into the equation also. If really standing on the throttle, the unit doesn't even make it down to 100 Hz within a -3 dB tolerance window !!! Obviously, this is not very good or linear and is poorer performance than one would expect out of a "reasonable" pair of speakers, NOT line level components !!!

As such, you can't expect consistent sonics from this unit unless you listen at one gain setting. If you have only one source component and all your recordings are of the same intensity, you "might" be able to find a reasonable setting. Since i highly doubt that this is the case, especially the part about consistent volume from recording to recording, you can pretty much count this out.

On top of the variations that this unit produces on its' own, one can introduce a whole new gang of variables into the equation once you start factoring in input / output impedances into the equation. I'll just say that this unit isn't going to be very versatile in terms of what components it mates up with in terms of amp selection. All this "high tech performance" for only $8500. Make that $9000 if you want the convenience of a remote.

Moving a few pages further, we run into the "giant killer" AH! Njoe Tjoeb ( pronounced "new tube" ) 4000 cd player. This is a highly modified / hot-rodded Marantz unit with tubes added, a "super clock" and the option of a "plug & play" upsampling board, fancy footers and an upgraded power cord. Depending on what you want to spend, the base unit is $700. If you go for the unit fully loaded with options, you can feel your bank account drained to the tune of about $1200.

Take one look at the frequency response of this unit and you'll see that it is far from "neutral". To top it off, distortions are higher along with a lack of suppression of AC harmonics. Jitter is pretty high for a unit with a "superclock" i.e. higher than other units i've seen with no "superclock". As such, this unit doesn't appear to be a "killer" of any type other than being able to "flatten your wallet in one swift motion".

Obviously, "high end" has come full circle. That is, it would appear that "audiophiles" are more concerned with asthaetics and reputation than actual performance and fidelity. The folks that used to laugh at Bang & Olufsen are now falling for looks at an even higher price. While the sonics may differ from Bang & Olufsen, the end result is that none of these units are "accurate" or capable of being called "high fidelity" units any more than Bang & Olufsen gear of yester-year was. The fact that B&O are now trying to jump back into "high end" with some truly innovative products just goes to show that one can't judge a company or product by its' cover any more.

Having said that, the above mentioned products can't really be called "Hi-Fi components". What they can be called are "flavoured audiophile toys". The funny thing is that J. Gordon Holt had commented on this type of situation arising within the industry and there are letters in this issue agreeing with that point of view. J. Peter Moncrieff also talked about that in IAR Hotline 76-80 quite a while back and found it rather pathetic. Count me in with that crowd too.

I do have to credit JA and the guys for having the guts to print these test results. While there is plenty of "dancing" in all of the reviews along with more than enough "gushing" ( the Pass review in specific ), it was pretty obvious that JA really DID make mention of the technical problems that each of these products displayed. As usual, Stereophile remains consistent in the fact that they continue to test, measure and display the results for all to see. For this, i offer a very hardy pat on the back, vigorous hand-clapping and whistling. THANK YOU from all of us that like reading and interpreting spec's for ourselves. Having said that, JA still tried to down-play these flaws somewhat by giving the "old soft shoe" at the end of his technical comments.

As i've said before, one has to buy and use what they like and makes them happy. With all of the various and BLATANT "flavouring" that is going on with audio gear nowadays, one really must know what they want and how well components will blend together in their system. It would appear that the days of trying to achieve "accuracy" and "musicality" with with each piece of gear are over. Now audio is kind of like Baskin-Robbins i.e. you've got to know what you like before you order what are VERY specific "flavours" for each product selected.

Let the buyer beware.... Sean
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PS... I've got my flame repellent armour on along with an oxygen tank and a full battery of weapons. After this post and the responses that i think i'll get, i know that i'll need all of that and maybe more : )
sean
sean OP
6,231 posts
 
Jayctoy: I am looking for "musical accuracy". This means that i want a system that is truthful to the sound of instruments and voices as heard live. In order to do this, you need high levels of accuracy, both in the equipment and in the recording. Obviously, there are compromises made in both of these areas, so one has to pick and choose what they are willing to accept and how they want to cope with such a situation.

As to being "too technical", i abhor both "clinical" sounding audio systems and systems that "sugar coat" everything. If i had to choose between one or the other, i would take the "sugar coated" system. The primary reason for this is that most recordings tend to be bright, lean and hard sounding. As such, i'd rather have a less revealing system than one that was un-naturally etched sounding. A system that was "highly detailed" to the point of being strident would only highlight the flaws mentioned previously in most mass produced recordings.

Quite honestly, i would venture to say that this is directly related to the resurgence of tube gear. Tubes tend to produce a fuller sound with less transient energy at high frequencies. This type of reproduction compliments / helps to hide the horrible qualities that many digital recordings and digital playback equipment tend to bring with them. Taming these flaws via a known colouration is therefore more pleasant than having one's ears bleed in the name of "accuracy".

As far as Trent from Van L goes, i have no idea who he is or was, so i don't know how to take that comment. I've always dealt with John, the owner, who is a truly nice guy. Sean
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jayctoy's avatar
jayctoy
3,823 posts
 
Sean thanks a lot,If you say Musical Accuracy Iam in it.
I did learn a lot on your explanation,Its more simple
and easy to understand.I think if you will do your
post like this, a lot of Agoners like me, who does not have
engineering background,or electronic background, we
will learn a lot from you.Of course its your choice.
My only humble request, with your permission only.
trelja
3,223 posts
 
I also check in for musical accuracy! That's the Holy Grail, and what I strive for. Sean is correct in that many systems are either too analytical or too warm.

In my experience, it is hard to find an amplifier that will really not fall into either category. The closest I have found, in many regards is the OTL. They have a certain light and life that reminds me of real music. There is warmth, but it doesn't go too far as many tube amps do. They don't lack the soul of many solid state amps or try to go overboard in convincing that it can be warm like a tube amplifier. They also have speed and clarity that surpasses even most of the solid state I have encountered.

However, I have problems with OTL amps. Although the bass they have is extended, VERY fast, and tight, it's hard to power a big woofer with an OTL amp(unless it's 16 ohms - not too many of them around). And, a big woofer generates the kind of horsepower needed to do bass correctly. My OTL amp cannot grab hold of the woofer's voice coil and blow me back like a solid state or transformer coupled tube amp can. Using an autoformer helps somewhat, but then the OTL warmth and magic goes away.
sean OP
6,231 posts
 
Jayctoy: I try to speak in understandable terms, but to someone that is less technically minded, i'm sure a lot of it sounds like "Babylon" i.e. "babble-on". Then again, i do make a concerted effort to try and explain things that are more technical in nature, hence the lengths of some of my posts that "babble-on".

Trelja: Once again, i find that we are on the same page. I too like OTL's, but the majority of speakers that i prefer just don't work too well with them. On top of that, with the spl's that i like to be able to achieve, i would be eating up output tubes left and right. OTL tube amps can be great, if they match your speakers and listening preferences. Sean
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kkursula
95 posts
 
Correct bass? Real live bass is loud and forceful, not tight and tuneful. Orchestral bass sections sound big and fat in real life! Trelja, you might even have a good thing and you do not even know it.
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