At 193 hours of break in, here is one more update.
What is quite frankly surprising me, is the dynamic range that the Criterion can yield without overt signs of clipping, while maintaining sonic and most of all musical integrity.
part of the continuing break in, today I decided to go through all the Beethoven piano sonatas played by V. Ashkenazy on a multi CD Decca reissue box. I believe these to be old analog recordings from the 70s and 80s. I have not played this set very much in the past because I always found the sound somewhat hard and prone to unwelcome clipping on the louder passages. . . . not today.
What I found remarkable is the dynamic range that Criterion appeared to yield on the Waldstein without signs of apparent effort. I kept raising the volume and found mostly. . . more detail on the entire frequency band. I suspect I have reached SPL levels that normally would have chased me from the listening room, or at least would have caused severe ringing in the ears. . . yet, I am still perfectly comfortable after listening to the entire Waldstein sonata at concert volume level from a virtual distance of about 15 feet from the grand piano. While fff passages where awesome for their sheer impact, pp remained present, feathery, and never recessed into a murky distance. In fff, musical structure was still in evidence and had not started to coalesce into the typical blob of sonic overpressure. . . musical notes maintained their individual granularity even in complex arpeggios and chords. I never got the impression that I was getting into dangerous territory for either my ears or my speakers. A few passages here and there did have some hardness. I have no idea if this has to do with Ashkenazy getting overly enthusiastic and losing some wrist/elbow elasticity in his chording, or more likely, I was finally reaching the current limits of the criterion. I'll repeat the listening in several days and will know more.
On a different 'note'. . . you guys probably know that I am not exactly a great fan of Diana Krall. . . yet today her Temptations redbook album was absolutely delightful and totally enjoyable. The hot miking that so often bothers me was not in evidence. Rather, Krall's diction seemed superb and expressive, while her articulated pianistic commentary to the songs was crisp, harmonically satisfying and emotionally delicious. And yes, if anyone were asking, there is definitely more instrument individuality/separation/definition than on my still beloved Capri. The bass lines with Criterion are definitely easier to follow than on other pres I am familiar with.
If I were to judge the Criterion purely by the krall album, I may be tempted to conclude prematurely that the pre has reached sonic maturity, yet I really doubt that this is already the case.
G. |
Clavil, unless I am mistaken, the MBL 101E speakers have an efficiency of 89dB with a nominal impedance of 4Ohms. Unless they did something extraordinary, like dipping into a 1 Ohm load at some frequencies, the 312 should have no issues. If you are still concerned, you can always opt for the JRDG 301 monoblocks and have them configured for low impedance speakers.
Brazcole, do not worry about the audiophile language. . . just say it the way you hear it. . . we will understand you perfectly! G. |
Hi Dave, seems Appogg prices will be $850 to $900 per unit, depending on size. Guido |
Here is the Appogg priceing/eCommerce page:
http://appoggsystems.com/purchase/index.php |
A note I just received from a friend reminded me that it's time to post an update on the Criterion's break in process. I just checked my spreadsheet, and it appears that I have now reached approximately 510 hours of music making on the pre.
With the premise that I'll never be caught dead saying nonsense such as "Capri sounds broken by comparison"., Criterion is a different experience all together. . . The general effect is not so much of you having a 'better' view into a venue, but of the venue stage becoming an extension of your listening room starting with the front of the speakers. . . The effect is truly uncanny. The staging and the solidity of the instrument images is magnificent, including pipe organ recordings, where the stage has been usually somewhat flat in my prior experience with most pres.
The overall impression is now of an extremely expansive sound with great ease, combined with a degree of detail that I am not accustomed to on my own system. This was particularly apparent on my (1960s) recording of J. S. Bach's flute sonatas performed by Jean-pierre rampal and Traver Pinnock. As you may know, one of the hallmarks of Rampal's playing is of a certain generalized breathiness. . . the breathiness is certainly still there, but it has now resolved itself into several components. . . his of air from the player's upper lip, intermodulated high pitch narrow band warble probably coming from the outer sides of the embochure, and rush of air from inside the flute's pipe. . . and more breathing of the player. . . which sounds like the breathing of a young man. And it is ever easier than before to follow the various contrapuntal voices in the harpsichord part, while the cello basso continuo is ever so much clearer.
Listening to the Goldberg variations played by Glenn Gould is a real treat, if you do not mind is impromptu singing-along, which is, whether we like it or not, more in evidence than before. What I found that now I can even hear some very minor flaws in the performance that were masked before.
I have been asked if the Criterion has authority and good bass definition. . . yes, definitely for both. The bass is extremely extended, and seems to have reabsorbed some minor humps and trofs that were present in the early stages of break in. . . and authority is exceptional, both for bass and treble, which is now incredibly sweet. I find (I believe I may have said this already) raising the volume more and more, because I keep hearing more music and detail without a sense of things starting to break up, even in complex passages
I enjoy listening to a song by Norah Jones. in a semi Dixie style about a sinking boat. . . the song has now reached a delicious transparency and wistfulness, with Jones clearly trying to imitate in a passage or 2 the throaty voice of Armstrong.
I have done about 200 hours on XLR input 1 using my CD player and the rest on RCA input 6 using an old NAD tuner. . . because I do not want to use the CD player as a beast of burden. This means that the XLR input may not be optimilly broken in yet. My friend Lee Roitberg here in Austin has just constructed for me a very nice transformer-based RCA2XLR converter/adapter, which is now enabling me to feed my tuner in XLR input 1 as a balanced signal. . . this means that I can now exercise the primary input for a few more hundred hrs without burdening my CD player. Let me know if anyone is interested in such a device. Lee may be able to construct a few more of them.
A few days ago audiogoners Aaron Lindsey and Scott Oliver have loaned me prototypes of the fruit of their new joint venture: the new Appogg isolation platforms. . . this is my very 1st experience with isolation products. . . I must say that their platforms work very well, particularly on the CD player. . . the platforms are tunable for the weight and size of components. The effect seems a further solidification of images and coherence in the bass. . . . the platform under the Criterion may undergo some further tuning. Info/pics/prices about the platforms at
http://www.appoggsystems.com
Interestingly enough, the esthetics of the platform has been even approved by my wife, who in general finds most hifi thing hideous. . . of course, she is skeptical about the concept, but admitted that they are "very pretty, and quite elegant".
G. |
Hi Claude, the JRDG 312 is an amazing amp. . . I have not compared it side by side with 501 monos with PC-1s, so I can't really comment on differences.
I am no longer using Cardas Golden Ref speaker wires and power cords. I am now using Furutech Evolution II wires throughout the system. . . Extremely linear, quite extended, and no emphasis or trofs that I can tell. . . and very graceful treble. |
All, time for some updated impressions.
I have now been running Criterion almost 24/7 since mid July. . . it has either being playing from CDs on XLR input 1, or from my old tuner from XLR input 2. During night time, I usually mistune between FM stations and feed Criterion a diet of pure unadulterated quasi-inter-station white noise hash. I estimate that Criterion must have by now passed 2,000 hours of activity on the combined inputs.
Today I loaded a very old CD. . . Jackie Dupre on the Dvorak Cello concerto with her husband Daniel Barenboim at the baton. I always considered this recording more documentary in nature than anything else. While the performance is truly remarkable, the recording is of dubious quality also for vintage standards, with somewhat hazy sound, flat staging and hashi fortissimos. It was always a bit difficult to enjoy this recording. . . Dupre tended to be buried in the lumpy background
I honestly did not know that this CD even knew
what 'soundstage' and 'imaging' even meant. . . my opinion was always that the recording engineer should have been taken to the Lublianka for interrogation as a possible anti-musical plant. . . .
Well. . . today my jaw dropped. . . the words mesmeric, awesome, eerie, and stunningly emotionally involving come to mind.
The soundstage was there. . . and what a stage. . . with Dupre at the front center, more or less lined up with the front of the speakers. The orchestra sorrounds her at a realistic distance, consistent with true placement of instruments in the orchestra. Dupree is passionate beyond belief. . . her Stradivari cello is passionate and rippling with harmonics. . . in double stops I can follow the interplay of the twin melodies with incredible ease. . . there are things that I hear that Dupre intended me to hear, like those amazing harmonics, riveting macro dynamics, microdynamics that have an incredible intimacy. . . there are things that perhaps she did not want me to hear. . . like the swish of her sleeves and the creeking of her stool. and an occasional intake of breath.
The Orchestra sounds majestic, intense, and passionate. . . the emotional rapport and kinship between Dupre and Barenboim is pretty evident in the incredible dynamic synergy between the cello and the orchestra. I was specifically looking for the virtual placement of the triangle. . . would it be highlighted towards the front, or would it have a realistic placement. . . when it arrived it was clear as a bell, but from a distance, from the right and towards the back of the hall, in the spot it would be in a live concert. . . who said that JRDG gear can't image worth a darn (grins!). The fff ends of movements 1 and 3 had a special surprise. . . not only I could hear the great hall through the decaying sound, but the shells of the kettle-drums and perhaps some unused large cymbals were clearly ringing from somewhere close to the triangle player.
It is interesting that with Criterion, 'silent background' does not mean lack of sound. . . Rather, it means complete abscence of that glare and random hash that hides the lowest level of information from recording venues that are by their nature always filled with those tiny mechanical vibrations, that let us perceive their palpable existance, size, and often shape with our eyes closed. Thus, somewhat paradoxically, I suggest that Criterion's profound 'black background' silence actually illuminates musical reality.
During fff/tutti, there is obviously a little distortion (the sound engineer should still be punished, or at least be imparted musical reeducation in a gulag for a duration commensurable with his grievous crime against the Muses), but distortion is much less than I was used to, and the stage never collapses under macro-dynamic stress, which is totally unexpected in this recording.
Bottom line, this creature is amazing. . . and if you think you already love criterion after you used it for a couple hundred hours. . . I can assure you that you have not heard anything yet. I have now reasons to believe that Criterion may continue to mature and blossom well beyond the 1,500 hours mark.
I usually try to be dispassionate about my sonic findings, but what I heard today simply took my breath away. I was supposed to work on some web content creation today instead of wasting time listening to Dupre. . . well I obviously couldn't. . . so I didn't. . . and no apologies either! . .
Saluti,
G. |
Thank you Brazcole for the link to the review. I am enjoying every minute of music from my Criterion, which at about 700 hours seems to me fully broken in. Among other things, the Criterion has added significant authority to my system. As I mentioned on Positive Feedback Online in my review of the Furutech Evolution II wires, the only negative observation that I could make about my JRDG Capri was that the bass, while quite extended and tuneful, suffered of a certain diaphanous lightness. . . If you listened to Edgar Meyer playing the cello Bach suites on his double bass. you will know what I am talking about.
Criterion among other things addresses this particular issue: resulting bass is tuneful and extended for sure, but has also the correct dark timbre, and transient authority is delightfully satisfying. For my Furutech Evo II review, see:
http://positive-feedback.com/Issue45/furutech.htm
Guido
|
Brazcole, not too many of us read Portuguese. . . that means that not only we can't read the Andrette review, but we do not even know how to subscribe to the web site. Could you please create a Google translation of the review, then paste the translated text to this thread? Thanks, Guido |
Fabulous idea Brazcole! I will send you a personal message right away with my mailing address. You should find it in your eMail inbox shortly.
Grazie mille! and. . . Obrigadissimo!
Guido |
All, if I manage to get a rough Google translation of the article, I'll post it here. |
Good stuff David. . . keep us posted on your Criterion. . . old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!) G. |
David, if my understanding is correct that each input may have its own equalization/isolation transformer, your observation that every input needs to be broken in separately would not be surprising. That is why I ended up converting the unbalanced output of my old tuner to XLR balanced via an external transformer-based RCA/XLR adapter, and fed it into input 1 of Criterion for a few weeks 24/7, so I could spare my trusty X-01 from serving as lowly break-in donkey. |
Thanks to Brazcole, I have just received today a copy of Audio&Video magazine from Brazil featuring a professional review of Criterion by Mr. Andrette. I'll scan the article and will attempt to submit a Google translation. If the translation results are not totally outlandish, I will post salient extracts to the thread in a few days. |
"old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!)"
Brazcole, that was an attempt to write something in Texas slang/dialect. . . It means kind of:
Brazcole and I were starting to feel lonely. . . because we were the only 2 real users of Criterion on this thread.
Not at all familiar with Krell 202 so I can't comment on it. Is the gentleman in the Brazilian forum intimately familiar with Criterion?
Guido |
Thank you so much Brazcole, the reaction of the gentleman in question is sadly typical of some people who have not even listened to a device: dismiss it outright as 'obviously' inferior!
On the subject of CD players, my personal favorite is the Esoteric P-03/D-03/G-0S combination. I have listened to Paganini and Puccini, but I thought they may not have been as emotional as the Esoteric combo. On the other hand, as I have not listened to them side by side with the Esoteric, my impressions are not terribly well informed. . . . and are 'subject to change without notice.'
Guido |
Hi Claude, do you happen to know if the Esoteric combo was fully broken in? It takes about 1200 hours for Esoteric gear to sound at its best. . . and when it is not broken in, Esoteric products sound. . . extremely harsh, digital, unemotional, and utterly unpleasant.
On the other hand, Esoteric is extremely revealing and intense, while DCS may sound sweeter. . . it's a matter of personal preference I suppose. G. |
Claude, DCS does make splendid stuff, while up to now I have tended to prefer the TEAC Esoteric sound, I freely admit that DCS is excellentAnd who knows. . . my preference may change in the future. . I'll give a careful listen at DCS at RMAF in October. Guido |
Clavil and Brazcole, all of these seem to be worthy comparison projects. . . Let us know your impressions if you have the opportunity of conducting some of them. G. |
Claude, it's quite possible that the Esoteric sound may simply be not what you are after. DCS seems to me sweeter sounding than Esoteric. G. |
Thank you Vito, Criterion's home theater bypass is very flexible. Any/some/all of the Criterion's balanced or unbalanced inputs can be configured/assigned to home theater bypass. This means that you could have up to 6 inputs configured as theatre bypass if you really wanted.
Note that by default, as all inputs are transformer coupled, all inputs RCA/XLR have identical gain structure. If you want to adjust input gain for any/some/all of the inputs, you can assign a gain offset +/- 10dB in 0.5dB increments to any of the inputs.
All main outputs (2XLR, 2RCA) are also transformer coupled. . . This mean that by default they would present an identical volume gain to a pair of amplifiers that you may be using in a biamped configuration. . . But for greater flexibility in biamped configurations, RCA output 2 can also be configured with an output gain offset (+/- 10dB with 0.5dB granularity).
What's even more interesting, is that the record outs are controlled by a completely separate preamplification circuit. . . this means that you could even assign a Criterion input to drive an amp(s) in a separate room, which would enjoy a completely different musical program with a completely different volume.
On your specific question of compatibility with ML amp. . . Criterion's output impedance is only 60Ohms in both balanced and unbalanced mode. This means that Criterion is compatible with all but the most peculiar amps on the market. Unless your amp has an input impedance of less than 1200 Ohms, you will have no problems.
Saluti,
Guido |
I must echo Dave's assessment of the GamuT room, using their big monoblock amps. Performance of the Bach Toccata Adagio and Fugue in C minor on the organ was stunning and very emotionally involving. Yet it seemed to me that a system consisting of Boulder CDp, Boulder 2010 pre, Rowland 312 amp, and Vienna Die Muzick speakers that we listened to at Soundings Hifi just across from the Marriott hotel may have exceeded the Gamut system in harmonic resolution and low level detail. The 2 systems were definitely comparable in staging, imaging, extension, and superior abscence of any disturbing artifacts. . . the kind of systems that you just would like never to walk away from.
Dave and I were able to listen/contrast the Rowland 312 and the Boulder 2060 stereo amps on the same system at Soundings. . . Boulder CDp, Boulder 2010 pre, Vienna Die Muzick speakers. Both excellent amps. everyone present in the room appeared to favor 312 over Boulder 2060 for authority, staging, harmonic exposure, low level detail.
Unfortunately we were not able to compare directly Boulder 2010 and Criterion in the same system, hence I won't guess about my pref between these 2 devices. |
And of course let us add those exceedingly fine GamuT monoblocks to Boulder 2060, Rowland 312, and FM Acoustics. Unfortunately I do not remember the model of the GamuTs, but I seem to remember they were priced at approximately $26K, which is 1 fifth the price of the FM Acoustics . G. |
Apologies Husk. I inadvertently missed your post. Unfortunately I have no experience with MBL and DartZeel. I am sure they are fine devices in their own right. If you would like me to elaborate on the behavior of Criterion in some particular sonic/musical area, or you would like some particular tech info, I'll be happy to do so. . . but I can't compare it with devices I am not terribly familiar with. Guido |
Husk01, I can give you only a semi useful answer by indirection as follows:
A friend of mine tried Berkeley DAC by itself as well as Berkeley into a JRDG Capri: he much preferred Berkeley into Capri; never the less he sold capri because of cost recovery considerations only and kept Berkely DAC.
I personally much prefer Criterion over Capri.
By extension, I suspect that I might prefer Berkeley DAC into Criterion than Berkeley by itself.
As I said. . . mine is a valid but indirect hypothesis. |
Mike, a direct in-system Dartzeel/Criterion comparison for both battery and AC ops would be quite fascinating, particularly if vinyl media could be included in the proceedings. Guido |
mark, Criterion uses large scale integration for its optical volume encoder, rather than discrete components. The dynamic range of the Criterion circuit is expected to be much wider than in previous JRDG preamplifiers, including that of various versions of Synergy and Coherence. I am not sure about the part number / manufacturer of the volume encoder module. |
One interesting point is that at Soundings Hifi in Denver, in the opinions of several, the Rowland 312 amp was preferred to the Boulder 2060 stereo in the areas of authority, macrodynamics and general fullness of sound, in addition to micro dynamics/microdetail, harmonic exposure, and involving musicality. As already mentioned, the rest of the system consisted of Boulder CDp, Boulder 2010 pre, and Vienna Die Muzick speakers.
Needless to say, we did not have the opportunity of contrasting with MBL.
Please note that, at this level of performance, I am more inclined to utilize the term 'preferred' rather than 'exceeded', because live observations between such top flight devices -- even in the most controlled of situations -- are very much relative to personal taste. G. |
Splendid idea Dave. It may be worth while you creating a separate thread to locate a Dartzeel user in the Denver general area who would be interested in contributing his unit to perform the Criterion/Dartzeel listening session.
Problem is that not all Dartzeel owners may be following this Criterion thread. G. |
Mike, yes I read the DarTzeal site and saw the 50Ohm impedance characteristics of the DarTzeel BNC interface. I have no idea if it can be added to Criterion post FSC, or what engineering work its addition may involve. G. |
I have the impression that Criterion may be quite insensitive to power cords during AC operation. This has probably to do with the high degree of regulation of the power supply and the final passive power factor correction rectifier built into the power supply itself. G. |
Husk, I have not compared C-03 and Criterion in the same system. From 3rd party comments, I have heard that C-03 is extremely musical, transparent, and smooth, but may yield only moderate authority. What I can tell you for a fact is that authority is one of the exceptionally strong points of Criterion.
From an architecture point of view, C-03 is a single ended design, with balanced inputs and outputs recreated using transformers. Transformers are also used in Criterion, which is however completely balanced in-circuit.
C-03 supports a certain amount of input and output level adjustments, but I have the impression that Criterion may be more complete from this point of view, as all Criterion inputs support offsets adjustments. Specifically, Each input can be assigned an independent gain offset in 0.5dB increments, ranging from -10dB to +10db, for a maximum possible offset of 20dB. Offset adjustments can be assigned from both the main control panel and from the remote control transmitter. Any of its inputs can be assigned to Theater bypass. An output gain adjustment is also available on one of the RCA outs with the same granularity and range.
Another interesting feature of Criterion is it has 2 completely separate preamplifier circuits inside. . . one serves all main outputs, while a 2nd one serves the record outputs, and its volume is set separately. The idea is that Criterion can control 2 completely different music environments. . . from separate sources to output in different areas of the house.
And of course, Criterion has dual AC/battery operations, while C-03 is AC only.
The power supply of Criterion is an SMPS with built in passive power factor correction (PFC) and several level of regulation and isolation. I suspect it is the primary cause of the Device's apparent insensitivity to power cords. C-03 I believe may utilize a toroidal power supply. I have not heard reports of power cord insensitivity about C-03.
Of course, until I hear the devices side by side, much of the above is of theoretical value.
Guido |
Hi Jimmy, Criterion is pretty darn addictive. . . but as for putting your used kidney on Audiogon. If your organ is an 8 or a 9, you might be able to find a buyer, but I am concerned that your better half might get very upset and might thence put a legal lean on your remaining kidney (grins!) |
I estimate I might have just over 2000 hours of music on Criterion. |
A direct comparison of AYRE KX-R with Criterion would be very intriguing. Hope I can make it happen some time. G. |
If past history is a valid indicative of future trends, I speculate that CD players may not be among JRDG 2010 announcements. |
Merry Christmas all.. . hope everyone is having a Very Musical One! No Rowland gear under my virtual Xmas tree. . . but a little Dillon flugelhorn is being manufactured with 'my name on it.' . . hope it gets shipped soon. If anyone were curious. . .
http://www.dillonmusic.com/HeleoCart/ProductPage/DMB-FL-ROSE.aspx
and the answer is no. . . I have never played brass. . . but it's all DCSTEP's fault. . . he made me fall in love with his flugel last October in denver. . . now I'll have to learn to play it.
Besides who knows. . . if Rowland indeed introduces new products in 2010, I might very well end up succumbing again to audiophrenia. . .
http://positive-feedback.com/Issue46/audiophrenia.htm
and perform some act of uncontrollable audio lust sometimes later in the year.
guido
|
Thank you Brazcole.. . I fear I will not make music but only horrid squeals. . . for many many months. I suspect the music from my system may evolve more rapidly than the music I'll be able to produce on the flugel (grins). |
Claude, I do not have complete information, but it is apparently correct that JRDG has unwrapped a new preamplifier at CES. The device is called Corus (that is correct--Latin spelling). It seems it is very similar to Criterion, except that it lacks DC batteries power operations. The AC power supply is likely the same as that of Criterion, but housed in a machined Aluminum box to fit behind the main chassis or on the floor. . . perhaps similar in shape to the PC-1 rectifier. Most other internals I believe may be the same as criterion, or extremely close to it. I'll know more in the next couple of weeks. US price might be just below $10K. |
Raquel, Is your Coherence an II or an I series II? Guido |
Thank you Raquel, one difference in the output stage between Coherence I and II appears to be--according to the copies of the manuals I have--that the older varsion had an output impedance of 300Ohms unbalanced and 600Ohms balanced, while verion II seems to have 50Ohms regardless. Manuals also say that Coherence outputs are direct coupled. I suspect this may mean that there isn't the transformer-coupling present in later designs, whose function, among other things, is to maintain impedance invariance. Whether this has had any bearing on your results with the coax2XLR adapter experiments, is of course, anyone's guess. |
Braz, we could argue the fine points of which technology best couples what other technology until we turn blue in the face. . . In reality it does not matter too much at all. . . what matters are only your ears.. . and the particular combination of a real preamplifier with an equally real amplifier and how you react emotionally to them. . . The technology they use is purely incidental, and even the mutual impedance compatibility does not tell the whole story. Only your heart can. G. |
Clavil, the monster amp is called 925. I still do not know too much about it. . . a 4-chassis design, operating in class A/B, probably with a switch mode power supply and PFC rectification, probable power rating between 500W and 550W per channel. Price between $45K and $50K.
There is also a new 625 stereo amp: once again, my information is incomplete and not definite: single chassis, 330 to 350 Watts per channel, SMPS + PFC. Listed between $12000 and $13000.
I'll add more info as I learn it. G. |
Claude. . . spoke to JRDG marketing director this morning.. . unless things change, prices are as follows:
Corus preamplifier: $10,800;
625 stereo: $12,500;
925 mono: $48,000 a pair.
Note that while 625 and 925 are class A/B, 301 remains a top level current class D product at $29,500. Furthermore, it is my understanding that class D will continue to be used for integrated amps and other amplifiers up to 500 series included.
I have heard that the new amps are expected to be fairly energy efficient and not run hot to the touch.
Late March deliveries for the amps, and perhaps earlier than that for Corus.
Still awaiting firm specs and pics.
G. |
Claude, the interesting comparison will be between 312 and 625. . . 501 uses a generally more basic design without PFC in the front end, and its sound lacks the subtlety of 312. If 625 exceeds the music performance of 312 it will be a very special amp indeed. One detail I do not have yet is the current rating of 625 and 925.
Regarding Corus, the comparison with Capri should be a very interesting one.. . if my scant info is correct, Corus should sound very similar to Criterion, which is IMO significantly more refined than Capri.
Has your dealer told you when he should be receiving his units?
Guido |
|
Braz, I will definitely post any listening observations about the new JRDG amps when I get my hands on one. . . we'll see if it is a 625 or a 925. Guido |
Just dredged up some more info. . .
Corus is companion product of 625.
625 is not exactly a replacement for 312. The 312 amp -- which is no longer in production -- will eventually be replaced by a class A/B stereo amp called 825, for which there is no delivery date yet.
The current Criterion preamplifier is intended as a companion piece for the 925 and the future 825.
|
Macro, The units at CES were powered, but not connected in system. FCS is still tentative. Power rating is still undergoing finalization. I source info from JRDG.
Claude, 312 is certainly a marvellous product, but it is now almost 4 years old. . . and nothing is static in our domain. We'll see what the new products do for living, regardless of underlying class of operation. G. |
Yes, Audiophrenia being the most virulent known form of audiophilia nervosa. See:
http://positive-feedback.com/Issue46/audiophrenia.htm |
