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Meet The Wanderlust (or Why I Fell For A Comeback Album From A Band I’d Missed Back In The Day)

One of the frustrating parts about being a musician, music fanatic/record collector and reviewer is becoming painfully aware of the absolute wealth of incredible music that is out there which doesn’t get mainstream attention it deserves. I actually have set up a subsection of my collection for not only “one hit wonders” but “no hit wonders.”  These are the groups who have put out recordings that never really realized their potential yet which I’ve grown attached to and have kept them in my collection. Some of these groups are still around in some form or another. Some have disappeared entirely. But the music lives on…

What are some of these bands,” you ask? Off the top of my head, let me count the ways that are not Big Star: Interview (from the late ‘70s/early ‘80s), The Glitterhouse (from 1968), Superdrag, The Grays, Idle Wilds and The Sugarplastic and Creeper Lagoon are some that come to mind from the 1990s or thereabouts. The list goes on.  So many great albums by fine bands. Should-have-been-hits that were here and gone in a flash. Some got on the radio. Some you heard about by word-of-mouth.  

Some of these artists persevered and put out other albums independently. Others imploded and went on to do other things with their lives. And every now and then, one of these groups magically reappear. Creeper Lagoon did just that several years back playing a fantastic reunion show here in San Francisco. 

One such group from the East Coast which I’d never heard of up until recently is Wanderlust.  They have reunited and have new album out that really implanted an earworm in me.   

From Philadelphia, in the ‘90s they’d apparently opened for The Who and released one critically acclaimed album on RCA called Prize. Yet, they were dropped from the label before they could finish their second album. Each of the key members seem to have gone on to great successes releasing solo albums, co-writing Grammy winning hits for other artists, opening for Robert Plant and Alison Krauss, touring as a member of Brian Wilson’s band and more. 

Called All A View, when I put on their new CD I wasn’t prepared for such a fully formed rich recording, especially from an indie release. Chockfull of great rock songwriting festooned with glistening power-pop-fringe, the album is infused with hooks and melodies for days. At times it feels like Badfinger channeling Squeeze with the muscle of Television. But then it feels like Big Star with the free-falling abandon of The Dukes of Stratosphear. At another turn suddenly the lights go out and you turn off your mind, relax and float downstream on a green tambourine with R.E.M., Matthew Sweet, The Grays, The Posies, Neil Young and Ireland’s Pugwash along for the ride. 

From the opening one-two-punch of the trippy title track followed by the ripping “Black Current Jam”  Wanderlust starts out strong. But then the album keeps giving. “Something Happens” feels like some lost Paul McCartney track from around the time of Flaming Pie (note: the band apparently got its name from the Macca tune of the same name from the Tug Of War album). By the time you get to the lovely and haunting “Two Million Pieces” you realize this album is a complete song-cycle meant to be listened to end to end.  “Trick Of The Light” feels like an wondrous outtake from Emitt Rhodes‘ tremendous comeback album several years ago by way of Seals & Crofts’ (“Summer Breeze”) as if played by The Grays (side note: I do wonder if the painterly album cover for Wanderlust is somehow an homage to The Grays’ album Ro Sham Bo?).

The great thing about a recording like All A View is that you can listen to it on the surface as just a fine fine song collection. Or, if you are like me and appreciate bands which have internalized their influences on such a sweet micro-level that it gets fun to play a game of “spot the influence.” 

But perhaps the best thing about an album like this is that in addition to it making me want to play the album over and over, it also makes me want to track down the band’s earlier albums (which I plan to do!).  

I was so impressed with this album I wrote back to their publicist about the possibility of hearing the vinyl version. Amazingly, not only did they send me a copy but it arrived super quickly (the postal service can still work!). I’m happy to report that the pressing is solid. The sturdy black vinyl is quiet and well centered. And the music which I suspect was made in some hybrid of digital and analog sources sounds very good overall. The low end and mid ranges in particular benefit from the playback on my system. Listening to All A View on LP, the soundstage is a more focused and three dimensional feeling than on the CD (and the compact disc sounds quite good as they go).

Songs like “Something Happens” benefit really well from the vinyl edition with the acoustic guitars popping beautifully and the little percussion touches and electric guitar flourishes standing out in the mix. “Two Million Pieces” sounds somehow even more haunting and intimate on LP than the CD if that is possible. Definitely worth getting the vinyl if you can.

It’s nice to be able to recommend both the LP and CD of a new independent released album. Wanderlust’s All A View is a winner.

Original Resource is Audiophile Review

Why Was The Custodian’s Mix Of Thelonious Monk’s Palo Alto Concert Not Released The First Time Around?

Last year, one of the most exciting new releases for jazz fans had to be the newly unearthed and previously mostly unknown live recording of Thelonious Monk performing live at a high school in Palo Alto in 1968.  There is a great back story about this recording which I’ve reported on previously so please click here if you are not familiar with that part of the tale.

But… then…. surprise of surprises…  an announcement happened in 2021 that there would be a special “Custodian’s Mix” of the same concert issued on Record Store Day. 

In short, the mysterious high school janitor exchanged his skills in tuning the piano for this performance for rights to record the show.  Clearly, this custodian was quite a technician with multiple microphones and at least some sort of mixing board to bring several channels of music together, likely recorded live to two-track Stereo (probably reel-to-reel) audio tape. This sounds like a soundboard recording for the most part although it could be argued that it might have been a strategically-placed stereo pair of mics set up toward the front of the stage. 

Either way, the point is we have to make some assumptions here that the so called “mix” was printed live on to tape and that was that. 

Well, not entirely.  It seems that DJ Grand Mixer DXT did some sonic work on the tape to prepare it for the 2020 release. That initial version sounded quite solid, if a bit reigned in to the point where it almost sounds like Mono.

The new version released last week on Record Store Day has a few curious things going on of significance. First, it sounds  brighter and fuller, with a more open high end as if a layer or three of compression were removed. And the sense of Stereo soundstage is more pronounced on this new edition.  

The Record Store Day pre-release hype was a bit more aggressive with its promise: “The Custodian’s Mix uses the audio from the original tape to put you in that high school auditorium in October 1968 and lets you feel what it was like to be in the room.”

I don’t know if it quite does that in that it is clearly a recording which at best puts you on stage or in front of the stage with not a lot of room ambience mixed in. I know I’m splitting hairs here but its worth pointing out. 

But the question remains as to why this album was released in this manner?  I have reached out to the label but have not heard back as of yet.

Perhaps there were differences between the Monk estate and the folks at Universal/Impulse as to how the music should be presented? That would explain the release of two distinctly different visions of the same recording. 

Perhaps an earlier version of the tape was found in the interim which required less clean up work, prompting a release like this? The 2020 version does sound like it has had sonic anomalies and incongruities cleaned up a bit while this new 2021 version appears to be more of a “warts ’n all” scenario. Accordingly, don’t be surprised if you hear some tape drop outs, periodic distortion and maybe even a bit of hiss (but nothing major). 

 
Yet there is some confusing information on the official Monk website which has a tweet embedded stating: “The new Custodian Mix by @grandmixerdxt allows the listener to experience the historic account of the concert as it happened.”

Of course this begs the question as to whether this is indeed “the” actual tape as recorded by “The Custodian,” or simply another vision for the music as crafted by the producers of this release? 

I guess as a fan of Monk’s music, this should be our biggest “problem” : having two versions of the album to choose from… We should be thankful ultimately. 

That said, at the end of the day, the big question is ultimately: which one do I like better?  

Well, while it is a far cry from a perfect document to begin with, I think I prefer the so called “Custodian Mix” which feels a bit more natural and open sounding comparatively.  

If the Monk estate ever decides to work on a “definitive edition,” I would hope they would try employing Plangent Processes technology which could probably work wonders tightening up the sound to address tape “wow and flutter” and other anomalies which are inevitable in a recording of this nature. 

Until then, I’m grateful we have this new version.  If you didn’t get the 2020 version, or if you loved the 2020 version, you’ll probably want to seek out this new 2021 edition of Palo Alto.

Original Resource is Audiophile Review

Aldo Filippelli joins Krell Industries, LLC as Sales Representative – The Americas

Orange, CT, June 15, 2021 — Krell Industries, LLC, an award-winning manufacturer of high-fidelity audio equipment including amplifiers, preamplifiers, surround sound processors, and digital-to-analog converters, today announced the appointment of Aldo Filippelli as Sales Representative – The Americas.

In his new role, Mr. Filippelli will work with Krell’s dealers in the US and Latin America.

“Aldo is one of the most experienced and talented audio professionals in the market,” said Walter Schofield, Chief Operating Officer, Krell Industries, LLC. “Our dealers in the US and Latin America will no doubt benefit from working with such a knowledgeable salesperson. We couldn’t be happier to have him on board.”

 Mr. Filippelli brings 37 years of experience in the audio industry to his new position at Krell. In 1995, he co-founded and served as Vice President of Dynaudio North America, LLC, where he managed all aspects of distributorship, domestic sales, and brand promotion. He later served as the Executive Director of MK Sound USA, Inc., and most recently, Director of Sales in the North American and Latin American markets for Audio Research Corp.

Added Mr. Schofield: “Aldo has a deep understanding of the specialty, custom installation, and hybrid audio sales channels. Not only is he well respected as a salesperson, but he is equally revered as an avid audio enthusiast, an excellent sales trainer, and as a product specialist with knowledge that goes well beyond what one would expect the typical salesperson to possess.”

Aldo Filippelli can be reached at 630-484-7577 and [email protected].

# # #

About Krell Industries, LLC

Krell Industries is the premier manufacturer of high performance audio equipment, award winning amplifiers, preamplifiers, surround sound processors, and digital-to-analog converters for music lovers and home theater aficionados.

For further information, visit https://krellhifi.com.

The post Aldo Filippelli joins Krell Industries, LLC as Sales Representative – The Americas appeared first on Headphone Guru.

Original Resource is Headphone Guru

LSA Diamond Headphone Review: Revelation in Detail Musicality

Living Sound Audio is a company that Walter Liederman started with the intent to build world-class speaker designs that are offered at real-world affordable prices through Walter’s retail outlet Underwood Hifi (www.underwoodhifi.com). As an extension of this LSA began sourcing headphones made exclusively for them under their brand name manufactured by Kennerton, a world-class headphone company that specializes in designing and manufacturing dynamic planar drivers. The Diamond has an 80MM Planar Magnetic Driver that has a frequency response of 10-55000 Hz with an easy-to-drive 105 dB efficiency, making it easy to match with portable music players and low-powered amplifiers.

The Diamond is made using lightweight wood outer cups with comfortable leather pads. Unique to the Diamond is the headband which adjusts automatically on the user’s head without moving the band. The design makes this one of the most comfortable planar headphones on the planet.

Presented in an attractive case with a cable that is lightweight and sounds excellent, the Diamond uses the same connectors found in Audeze headphones, so after-market cables are readily available, though again, not really necessary as the stock cable is excellent. The Diamond’s lightweight is a welcome addition to the planar headphone marketplace and is well-engineered, The design was made for enthusiasts looking for ultimate comfort in a lightweight headphone.

Listening Sessions

 Listening to “Live at Studio A”, Lyn Stanley’s latest release, using the Diamond paired with the HeadAmp GSX Mini brought the music to life. Lyn’s vocal was pristine and the live studio recording was outside of my head and felt as if I was in attendance at the recording session. Lyn spent a lot of time producing this studio live recording.

Lyn Stanley

The soundstage and bass were recorded exemplarily and the musicians used in this recording were all top-tier artists. Lyn’s vocal was alive and her synergy with the live band was as if they were one.

“Blue Moon” spotlighted Lyn’s voice and was incredibly romantic while the musicians were synchronized with Lyn and the sound was incredible. I was able to hear subtle piano keys clearly and the sound was live and involving.

Diamond captured the musicians in their own space with ample air and spacing. Lyn sounded as if she was in my room and with my eyes closed, I could see her in front with excellent imaging. The Diamond captured this live performance majestically and took hold of me and never let go. The musicality was sensational and created a listening experience I won’t soon forget.

Patricia Barber’s  “Company” from “Modern Cool” is an excellent song to test a headphone or speaker’s dynamic range. The Diamond came to life with excellent bass detail and high-end shimmer from the cymbals that had excellent decay.

Patricia Barber

Trumpet sound was excellent with clarity and inner detail retrieval that was exceptional. Bass while not thunderous had a lifelike texture. Percussion on this track is a treat to listen to. Listening to the drum section on this recording I could hear the instrument’s skins and the high-end was pristine with exceptional shimmer and had no harshness noticeable.

The soundstage was excellent with good space between performers. Vocal transparency once again was spectacular, Barber’s vocal was sibilant free and the Diamond delivered a believable performance that left nothing out in the presentation.

Inner detail retrieval, speed, and transparency were all top tier. Impressive was Diamond’s ability to extract detail and exceptional treble and bass performance that is rare in headphones in this price range.

Holly Cole’s new extended play was recorded live in Montreal. “Little Boy Blue” was excellent and the acoustic bass with David Piltch playing was to the rear of Holly while her magical vocal was alive, it was as if I was in Montreal at the performance.

Holly Cole Trio

Holly’s vocal is always seductive and alluring. David’s acoustic bass had nothing missing, I could hear the sound of the instrument clearly and it sounded realistic. The recording was top notch and the Diamonds once again showcased this artist with exceptional musicality. Never did I feel anything missing in the delivery of this performance.

John Hiatt with The Jerry Douglas Band’s new recording “Leftover Feelings” was a treat. Jerry Douglas, who is one of the world’s best dobro players and best known for his work with Alison Krause, had his band in full gear.

John Hiatt

“Long Black Electric Cadillac” with John Hiatt’s vocal was electrifying and the Douglas Band was exceptional. The soundstage sound expanded in this rockabilly tune and had all the musicians in their own space with excellent separation and air between the performers.

The Diamond never sounded small on this recording and was detailed while the dynamic range was exceptional, as well as, enjoyable and the massive soundstage was impressive. It felt as if the Diamond had disappeared and all I could see was the band and John Hiatt in my listening studio.

“Hallelujah” as performed by the legendary Jeff Buckley is a memorable performance I gravitate toward frequently when I want to hear Leonard Cohen’s anthem, Jeff’s masterful performance of this song is the best I have ever heard it performed.

Buckley’s untimely death from a swimming accident stunned the world, but his performance on this track will never let us forget this performer who was one of the world’s most talented musicians.

Jeff Buckley

Switching to Beethoven once again showcased the Diamond’s speed and dynamic range with Gil Shaham on violin and Eric Jacobsen and the Knights were amazing. Shaham violin playing was packed with detail and never harsh.

Gil Shaham, Eric Jacobsen / The Knights

The sound from the instrument was smooth and you could hear the music coming alive with exceptional clarity. The orchestration was sensational and once again I was impressed with the transparency and soundstage that the Diamond was able to reproduce. Classical music enthusiasts will not be disappointed.

Final Thoughts.

Listening since 1979 to high-end gear and thousands of headphones the Diamond is one of the best designs for comfort and inner detail I have experienced.

Sound reproduction was explosive and dynamic. The Diamond had nailed the midrange and the treble and bass were outstanding. The transducer’s ability to extract detail was exceptional.

The Diamond’s strengths far outweigh any deficiency. Is it perfect? I have heard better layering in soundstage but usually with much higher priced headphones. Priced at $1999 this is a sure bet for any enthusiast looking for exceptional top-tier performance.

Diamond with its exceptional comfort and will satisfy even the most demanding listeners. If you’re looking for a transducer that gives you outstanding performance with any genre of music you should audition the Diamond. Musicality and transparency are what I look for in a top-tier headphone and the Diamond nailed it, never making me feel I was missing anything. Big thumbs up and highly recommended.

As a final note I would like to add that LSA will be offering the headphone with a new special Ear Cup that by design allows for a slightly boosted bass via “different pressurization”. They tell me that half of the production will have the original Ear Cup (ECL-01) and the other half will have the ECL-02.

Price: $1999

Manufacturer’s Website: www.underwoodhifi.com

The post LSA Diamond Headphone Review: Revelation in Detail Musicality appeared first on Headphone Guru.

Original Resource is Headphone Guru

Leading Light of The Global Audio World, The VerVent Audio Group Opens a Focal Powered by Naim Store in Houston

HOUSTON, Texas – Rolling out its vast worldwide network of Focal Powered by Naim stores, VerVent Audio, the union of iconic brands Focal and Naim, announces the opening of a store in Houston (Texas) on May 26. This brand-new store opened in the fourth largest US city and will set the tone for future official openings across the country.

THE CUSTOMER EXPERIENCE TAKES CENTRE-STAGE

More than simply a store dedicated to audio, Focal Powered by Naim Houston is an experience. This sophisticated 1,615-foot space invites customers to explore the unique world of Focal and Naim, and to immerse themselves in ultimate listening experiences. Up there with the know-how and innovations demonstrated by both brands, the experience offered is exceptional and personalized: visitors have access to Stereo and Home Cinema listening rooms, two open Hi-Fi listening areas and an area dedicated to headphones, enabling them to discover unrivalled acoustic and electronic solutions.

ROLL OUT IN THE UNITED STATES

Following on from South Korea, France, the Czech Republic, China, and Germany, Focal Powered by Naim stores are now landing in the United States, a beloved territory for both brands. The Houston space, managed by Jeff Pate, is a prelude to a large-scale roll-out across the country. The VerVent Audio mission remains unchanged: to convey new emotions through high-end products and by meeting all listening needs (in the home, on the move, in the car, in the studio, etc.).

Focal Powered by Naim Houston

6362 Alder Dr.

Houston, TX 77081

https://focalnaimusa.com/

ABOUT VERVENT AUDIO GROUP

VerVent Audio was born in 2011, incorporating Focal and Naim Audio. Each brand brings its savoir-faire: Focal is a French manufacturer of hi-fi loudspeaker and speakers, pro-audio monitors, in-car audio, custom-install products and headphones. Naim is a renowned British electronics specialist, specializing in two-channel hi-fi, multi-room music streaming systems, amplifiers. Both are recognized as exceptional brands in their countries: Naim is a multiple Queen’s Award winner, while Focal is designated by the French state as an ‘Entreprise du Patrimoine Vivant’. Together, they have united their unique areas of excellence and innovation and constitute a reference point in the world.

For more information visit:

Focal – www.focal.com

Naim Audio – www.naimaudio.com

Focal Powered by Naim – https://www.focal.com/en/focal-powered-by-naim

Facebook and Instagram – @FPBNofficial

The post Leading Light of The Global Audio World, The VerVent Audio Group Opens a Focal Powered by Naim Store in Houston appeared first on Headphone Guru.

Original Resource is Headphone Guru

SVS releases 3000 Micro subwoofer

SVS 3000 Micro subwoofer

SVS, a leading manufacturer of high-performance speakers, subwoofers and wireless audio, announced Friday the release of the new 3000 Micro subwoofer. The 3000 Micro, priced at $799.99, comes in Piano Gloss Black or Piano Gloss White finishes.

According to a company news release, the 3000 Micro has “a potent set of innovations packed into a compact 10-inch cabinet.”

The subwoofer includes fully active, dual opposing eight-inch SVS drivers.  By firing in opposite directions in unison, SVS said, the mechanical energy transferred to the cabinet is effectively canceled out, creating a sonically inert enclosure and solving the issue of micro subwoofers moving around a room.

The 3000 Micro also features control and custom presets via the SVS subwoofer DSP smartphone app for Apple, Android and Amazon devices.

Last month, SVS unveiled its 1000 Pro Series subwoofers, reviewed here by Scott Schumer of Home Theater Review.

Home Theater Review will offer an in-depth review soon of the SVS 3000 Micro soon.

Original Resource is HomeTheaterReview

Your Outdoor TV mini-buying guide

As weather turns warmer, many of you will consider investing in an outdoor TV setup. If you plan to use an outdoor TV every day, it’s probably worth spending more than if your aim is occasional use. Here’s what else you should know before making the leap:   

Most indoor TVs won't cut it inside

There’s a reason outdoor TVs from brands such as Séura, SunBrite and Samsung cost significantly more than their indoor counterparts. In addition to delivering impressive picture quality, these displays also have the necessary weather-resistant components and materials to survive potentially harsh outdoor conditions. If you have a covered patio, you might be able to get by with mounting an indoor TV outside, pairing it with a weatherproof cover. (This SunBrite cover from Crutchfield goes for $125.)  But we do not recommend it.  

You can go big, but prepare to pay

Size-wise, outdoor TVs have a similar range of options as indoor versions. You could opt for something as small as a 43-inch display, or you could choose a huge alternative like the 75-inch  The Terrace by Samsung (Crutchfield has the 55-inch version for nearly $3,500; a 65-inch version costs about $4,500.) By comparison, The Seura 55-inch Shade Series 2 costs $2,499; at B&H Photo, you can buy a Furrion Aurora 55-inch model for about $2,300. So, outdoor TVs are pricey, and we haven’t even factored in the cost of mounting hardware or external sound. 

Backyard movie nights? Yup

You probably want the best picture quality possible for your outdoor TV. You also may not want to shell out the money it takes to pick up a QLED display like The Terrace. The good news is most outdoor TVs are capable of 4K HDR quality. 

Most outdoor TVs don't stream natively

Except for Samsung’s line and a few other brands, outdoor TVs don’t have built-in streaming capabilities. Because of that, you’ll either need to acquire a streaming device (Amazon and Roku both make affordable, easy-to-use streaming sticks), or connect a cable box or antenna to your display. Keep in mind that each new device in the mix adds an extra wrinkle – streaming devices and cable boxes need power to work, and they aren’t impervious to weather extremes.   

You may want to consider better sound

Like indoor TVs, outdoor models have built-in speakers. For the average consumer, these built-in speakers are probably fine. However, the outdoor listening environment is much different than indoors, with noise that you have no control of factoring into your viewing experience. So, it might make sense to invest in an outdoor speaker setup. Perhaps that’s a premium set of weatherproof speakers combined with a high-quality amplifier (Crutchfield sells an outdoor package featuring a pair of Sonance speakers and a Sonos amp for $1,448).

Keep in mind that Porch.com suggests the average cost of installing a pair of outdoor speakers is roughly $340.  A more affordable route could incorporate a portable speaker that can be physically connected to your display, like the $400 Ultimate Ears Hyperboom. It has an optical input, something seldom seen in Bluetooth speakers. 

Conditions impact picture quality 

The location of your outdoor TV is important, not just for weather protection but for overall viewing as well. Direct sunlight and shady patios can seriously impact picture quality. That’s why brands such as SunBrite feature direct LED backlit panels designed to improve brightness and to reduce glare for optimum viewing regardless of conditions. 

Paying for set-up or do it yourself?

The simple solution is to hire someone to handle the job of mounting your new outdoor TV and concealing power cords and connections to give your setup the clean appearance that most people desire. Having a service like Best Buy’s Geek Squad professionally install your outdoor TV will typically cost (at minimum) $200. If you’re handy, do it yourself.   

Answers to common questions about purchasing a Smart TV

Original Resource is HomeTheaterReview

SVS releases 1000 Pro Series subwoofers

SVS, a leading manufacturer of high-performance speakers, subwoofers and audio accessories, announced Friday the release of its 1000 Pro Series subwoofers.

SVS bills the 1000 Pro Series as a “massive leap forward” over the original 1000 Series.

According to the company, each model boasts a 12-inch high-excursion SVS driver and a 325 watts RMS, 820+ watts peak power Sledge STA-325D amplifier with discrete MOSFET output. A 50MHz Analog Devices DSP, SVS said, ensures pitch perfect low frequency output, at the proper levels, with precision.  

Both models include a subwoofer control smartphone app, allowing the user to control and tune a subwoofer from anywhere in a room.

Each subwoofer features major advancements to the driver, amplifier, cabinet, and overall user experience, the company said.

Hometheaterreview.com will feature an in-depth review of the product soon.

Original Resource is HomeTheaterReview

Fry’s Electronics shuts all 31 stores

Fry’s Electronics is no more.

In business since 1985, the San Jose (Calif.)-based company has closed all its stores because of changes in the retail industry and effects of the COVID-19 pandemic. The family-owned company operated 31 stores in nine states.

“It is hoped that undertaking the wind-down through this orderly process will reduce costs, avoid additional liabilities, minimize the impact on our customers, vendors, landlords and associates, and maximize the value of the Company’s assets for its creditors and other stakeholders,” Fry's said in a statement posted to its web site. “The Company is in the process of reaching out to its customers with repairs and consignment vendors to help them understand what this will mean for them and the proposed next steps.”

Customers who have equipment currently being repaired should contact [email protected].

Customers with items needing repair under a performance service contract should call  (800) 811-1745.

Why the "Store Within a Store" Approach Makes Sense for CE Manufacturers

Original Resource is HomeTheaterReview

McIntosh MCD85 CD player released

McIntosh on Thursday released its MCD85 SACD/CD Player, the latest in the company’s line of retro-styled equipment. The MCD85 features a black glass front panel with direct LED backlighting, silver trim, an illuminated logo, and rotary control knobs.

McIntosh said the MCD85 can play store-bought Super Audio CDs and CDs as well as music from homemade CD or DVD data discs. 

According to a McIntosh news release, the MCD85 uses 2x read speed – discs placed in its diecast tray that are read at higher speeds, allowing their data to be stored in a buffer memory for better error correction and tracking.

Balanced and unbalanced fixed analog stereo outputs are available to connect the MCD85 to a preamplifier, integrated amplifier, and other home audio system components, the company said.

Additionally, McIntosh said, the USB audio input supports up to DSD256 and DXD 384kHz, allowing the MCD85 to be used to stream digital music from a computer or other digital storage device.

Original Resource is HomeTheaterReview

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