Stereophile - Audio Research

Electronically REPRINTED
FROM SEPTEMBER 2010
EQ U I P M E NT
R E P O RT
Audio Research
VSi60
robert j. reina
DESCRIPTION Tubed integrated
amplifier with remote control
of volume and source. Tube
complement: four 6550C, two 6H30.
Overall negative feedback: 7dB.
Output power: 50Wpc continuous
(17dBW), 20Hz–20kHz. Frequency
response: 1Hz–80kHz, –3dB, at 1W.
Total harmonic distortion (1kHz):
typically 1.5% at 50W, 0.05% at 1W.
Input sensitivity: 470mV RMS singleended, for rated output (32.5dB
gain into 8 ohms). Input impedance:
50k ohms, single-ended. Maximum
input: 3.5V RMS (any input). Hum
and noise: <0.1mV RMS, –106dB
ref. rated output (IHF weighted).
Power-supply energy storage:
ca 166 joules.
DIMENSIONS 14" (356mm) W
by 8" (203mm) H by 16" (406mm)
D; rear connectors extend 0.88"
(23mm) beyond chassis. Weight:
34.8 lbs (15.8kg) net, 38.3 lbs
(17.4kg) shipping.
SERIAL NUMBER OF UNIT
REVIEWED 88404605.
PRICE $3995 (add $500 for tube
cage). Approximate number of
dealers: 25.
MANUFACTURER Audio Research
Corporation, 3900 Annapolis Lane
N., Plymouth, MN 55447-5447.
Tel: (763) 577-9700.
Fax: (763) 577-0323.
Web: www.audioresearch.com.
integrated amplifier
I
’m a basically a tube guy, but
I’ve never warmed up to most
lower-powered integrated tube
amps. Although I quite enjoyed
the time I spent with the Cayin
A-50T, which I reviewed in the
March 2008 issue of Stereophile,
“A retro, early 1970s, Audio Research SP3” kind of look.
over the years I’ve typically found I’d
rather spend time with mid-priced, solid-state integrateds from Creek, Musical Fidelity, or Simaudio
than deal with the loss of definition at the frequency extremes that I’ve heard from many lower-powered tube models. So it was with a bit of trepidation that I approached the VSi60, a 50Wpc integrated
amplifier from Audio Research Corporation.
I’d heard good things about the VSi60 from those who’d heard it at the 2009 Consumer Electronics
Show, and its tube complement suggested that it might share some technology trickled down from
my beloved reference power amplifier, ARC’s own Reference 110, which I reviewed in August 2007.
Finally, the VSi60’s price of $3995 plugged the wide gap between the several fine solid-state integrateds available for $2000–$3000 and the combos of tubed preamps and power amp(s) that begin
at about $10,000.
Design
In the VSi60, a passive line stage is combined with a JFET input stage driving two 6H30 driver tubes,
one per channel. The output stage for each channel uses a matched pair of Svetlana 6550C push-pull
output tubes with a combination of pentode operation and ARC’s “partially cathode-coupled topology.” The VSi60’s circuitry is essentially identical to that of ARC’s VS60 power amp ($3495), but
with a higher input sensitivity so as to be able to be directly driven by line-level sources. The controls
on the faceplate (available in silver or black) are very similar to those on ARC’s SP17 preamp. There
are six soft-touch buttons (duplicated on the slim, elegant remote control), for Power, Mute, Stereo/
Mono, Input selection, and Volume Up/Down.
On the rear panel are five pairs of single-ended inputs labeled CD, Tuner, Video, SE1, and SE2, as
well as a full-range mono subwoofer output. Output taps at 4 and 8 ohms are supplied, as well as four
pairs of voltmeter test points for setting output tube bias. (ARC claims that biasing the VSi60 is not
very tweaky; it should drift only rarely from its factory settings.)
The VSi60 is convenient to use. To warm up the tubes, it automatically mutes itself for the first
30 seconds following turn-on, and a microprocessor remembers the last input and Stereo/Mono
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settings selected when the unit was powered down. To avoid any accidents,
you then have to manually unMute
the VSi60 after turn-on before
you can do any listening.
A black tube cage is available (add $500). I requested
one—amps here live at
the curiosity level of my
two dogs, and I was concerned that one or both
of them might develop
Seared Sheltie Snout—but
ended up not using it.
My dogs were uninterested in the VSi60 (they
must be solid-state fans),
and installing the cage requires removing
the VSi60’s sexy-looking, silver-anodized
top plate with its recessed Audio Research
logo (to provide adequate ventilation). I also
thought the cage was butt-ugly. I liked the
look of the naked VSi60, in a retro, early1970s, Audio Research SP3 kind of way.
Warren Gehl, ARC’s materials engineer,
quality-control technician, and chief “listener,” admitted to me that the VSi60 and
the Ref 110’s larger coupling capacitors in
the VSi60 would have resulted in the integrated’s physical footprint being larger than
ARC wanted.
About that 50Wpc power rating: ARC
claims that the VSi60 is designed to drive
power-hungry, low-impedance speakers. In fact, Gehl told me, the amp
was designed using Wilson Audio
Specialties’ MAXX IIs, and claims
that it can drive them to satisfyingly loud levels in ARC’s 32'
by 28' listening room. I hooked
up the VSi60 to my Alón Circe
floorstanders, a very benign 8 ohm
load. In fact, in the past I’ve driven
the Circes to satisfyingly loud volumes using single-ended-triode tube
amps rated to deliver watts in the single digits.
As always with ARC products,
the right-channel inputs are on the top.
Reference 110 have many similarities. Each
has a JFET input stage and uses the same
tube types (although the 110 has twice as
many of each). The Reference 110 is, however, a fully balanced design (the VSi60
is single-ended) with much larger power
transformers, as well as more exotic and
expensive coupling capacitors. Gehl also admitted that, apart from the cost issue, using
Sound
The rich, glorious, uncolored, holographic
midrange of the VSi60 made it a natural
match for well-recorded voices. My favorite
John Lennon vocal is in the Beatles’ cover
of Arthur Alexander’s “Anna,” from the
measurements
I
examined the Audio Research VSi60’s measured performance with
Stereophile’s loan sample of the top-of-the-line Audio Precision
SYS2722 system (see the January 2008 “As We See It” and www.
ap.com); for some tests, I also used my vintage Audio Precision
System One Dual Domain. I checked the bias of each output tube after letting the amplifier warm up for an hour and before I did any testing. All the
tubes had exactly 60mV of bias, as specified, and didn’t need adjustment
with the top-panel potentiometers, which suggests good stability.
I had one mishap during the testing: I was measuring the amplifier’s
clipping power from the 4 ohm output transformer tap into 16 ohms and,
just as the waveform squared, there was a loud bang. I immediately pulled
out the AC lead and took the cover off. The 100 ohm wire-wound plate resistor for one of the left channel’s 6550 output tubes had exploded. No fuses had blown! The other channel was okay, as was the same tube’s 1 ohm
cathode resistor. Audio Research sent me a replacement tube and resistor,
which I installed (using lead-free solder supplied by ARC), though not to
the same standard of neat soldering typical of the Minnesota company’s
products. The repaired left channel measured the same as the undamaged
right channel, and offered the same signal/noise ratio as it had before the
accident. I continued with the remaining tests, the harmonic and intermodulation spectra.
The VSi60 offered a maximum voltage gain into 8 ohms of 32.65dB
from the 8 ohm tap, and 29.9dB from the 4 ohm tap. Though these gains
are lower than usual for an integrated amplifier, in my opinion they’re
optimal for CD sources. The unity-gain setting of the volume control was
between the third and fourth green LEDs on the front-panel thermometer
display. The VSi60 preserved absolute polarity (ie, was non-inverting)
through all the inputs and from both output taps. Its input impedance was
usefully high, at 51k ohms, in the midrange and below, decreasing slightly,
to 37k ohms, at 20kHz. The subwoofer output appeared to be full-range,
69982_eprint.indd 54
meaning that it should be used with a subwoofer that has its own lowpass input filter.
As expected for an amplifier using a single pair of 6550 tubes per
channel, the output impedance was moderately high in the bass and
midrange, at 2.5 ohms from the 8 ohm tap and 1.6 ohms from the 4
ohm tap. The impedance rose at 20kHz, to 3 and 2.16 ohms, from the
8 and 4 ohm taps, respectively. This highish source impedance gave rise
to ±1.4dB response variations from the 8 ohm tap into the magazine’s
standard simulated loudspeaker (fig.1, gray trace), while the increase in
source impedance at high frequencies resulted in a premature top-octave
rolloff of –2dB at 20kHz into 2 ohms (fig.1, magenta). The responses
from the 4 ohm tap were similar, but with less variation in response
due to different load impedances, as expected (not shown). If you look
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-8
10
20
50
100
200
500
1k
2k
5k
10k
20k
50k
200k
Hz
Fig.1 Audio Research VSi60, 8 ohm tap, frequency response at 2.83V into:
simulated loudspeaker load (gray), 16 ohms (green), 8 ohms (blue),
4 ohms (red), 2 ohms (magenta). (0.25dB/vertical div.)
8/18/10 7:28 AM
A udio R esearc h V S i 6 0
impeccably remastered The Beatles in Mono
(CD, Apple 5 099969945120), and the ARC
reproduced it with a delicate yet forcefully
dynamic grit, clearly delineating every touch
of studio reverb in a bath of guttural glory.
In the soprano range, Aretha Franklin’s rendering of “Mary Don’t You Weep,” from her
Amazing Grace (CD, Atlantic 2-906-2), was
reproduced with her voice blooming within
the sort of subtle, linear, powerful dynamic
envelope I’ve heard only from much more
expensive tube electronics.
The VSi60’s ability to reproduce the midrange also made it a natural match for wellrecorded albums of acoustic jazz piano. On
“Tears Transforming,” from the Tord Gustavsen Trio’s The Ground (CD, ECM 1892),
the pianist’s middle register was delicately
reproduced, with all of its natural warmth
and subtle transient articulations remaining
intact.
Further up the audioband, the ARC’s
clean, extended, detailed reproduction of
high frequencies made it a good match for
jazz and classical recordings. Miles Davis’
trumpet on “If I Were a Bell,” from Relaxin’
(CD, Prestige VICJ 60125), had perfect tran-
sient bite, a golden burnished decay, and the
natural breathiness of the real thing. Violinist Arturo Delmoni’s stunning performances
on Ysaÿe Kreisler Bach: Solo Violin Works (CD,
John Marks JMR 14) were rendered with
pristine, extended, and airy detail and delicacy; every ambient nuance of the recording
space was captured with breathtaking threedimensional verisimilitude.
The rich, glorious, uncolored, holographic midrange
of the VSi60 made it a natural match for wellrecorded voices.
In my high-ceilinged, 18' by 35' listening
room, I didn’t expect to hear much of the
bottom end of the audioband from a 50Wpc
amp driving speakers capable of producing
20Hz. Boy, was I surprised. Bass guitarist Peter Freeman’s entrance in “Aurora,” on John
Hassell’s Last Night the Moon Came Dropping
Its Clothes in the Street (CD, ECM 2077), came
crashing into the room like rolling thunder,
but with no trace of coloration, distortion,
low-end rolloff, or compression. “Lord’s
closely at the traces in fig.1, you can see a slight knee at 50kHz. This graph
was taken with the volume control set to its maximum; at lower settings
of the volume control, the knee became a little more pronounced (not
shown), which implies the existence of some sort of parasitic resonance,
which in turn results in a couple of cycles of well-damped ringing on the
tops and bottoms of a 10kHz squarewave (fig.2). The 4 ohm tap was better
behaved in this respect. The amplifier’s reproduction of a 1kHz squarewave
was superbly square (not shown).
Channel separation (not shown) was excellent, at >100dB in both
directions below 2kHz and still 78dB at 20kHz. The amplifier’s noise floor,
assessed with the input shorted but the volume control set to its maximum,
was also fairly low in level. The unweighted, wideband S/N ratio (ref. 2.83V
into 8 ohms) was a good 73.3 and 74.8dB for both channels from the 8
name of this disc; the look on his face said,
“I wonder if this record can make my speakers sound like this!” Finally, I cranked up to
95dB Kraftwerk’s Minimum/Maximum (CD,
EMI ASW 60611): the room slam-danced
with clean, pristine, high-level dynamics and
no trace of smeared transients.
Speaking of loud, I thought this was one
area where this little tube baby would peter
out. Most of the time, it didn’t. The fullthroated orchestral tuttis on “Bluesville,”
and 4 ohm taps, respectively. The audioband ratios were 5 and 3dB better,
while A-weighting the measurement gave 89dB from
the 8 ohm tap and 90dB from the 4 ohm tap.
Plotting the THD+noise percentage in the VSi60’s output against power
revealed that the distortion began to rise above the noise floor at levels
above 1–2W from the 8 ohm tap (fig.3), and at levels above 500mW–1W
from the 4 ohm tap (fig.4). The linear increase above those levels before
actual waveform clipping suggests that the circuit uses a low amount of
loop negative feedback (Audio Research quotes just 7dB). ARC specifies the
VSi60’s maximum power at 1.5% THD. The amplifier exceeds that specification from the 8 ohm tap into 8 ohms, with 53Wpc available (17.25dBW)
at 1% THD, though only 44W (13.4dBW) were available from the 4 ohm
tap into 4 ohms at 1% THD. The amplifier did meet its 50W specification
10
2
Data in Volts
Tundra,” a solo performance on eight-string
electric bass by Dean Peer on his Ucross (LP,
Jazz Planet/Classic JP 5002-1) kicked me
in the chest during the repeated, high-level
transients in the arpeggiated phrases. Chris
Jones’s rapid-fire electronic-synth blasts in
Overcast Radio’s “Midnight Sun” (45rpm
single, Surface Tension STNSN 002) had a
visiting friend frantically writing down the
1
0
0.1
-2
0.00
0.05
0.10
0.15
0.20
Time in ms
Fig.2 Audio Research VSi60, 8 ohm tap, small-signal 10kHz squarewave
into 8 ohms.
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69982_eprint.indd 55
0.030
0.1
1
10
100
Fig.3 Audio Research VSi60, 8 ohm tap, distortion (%) vs 1kHz continuous
output power into (from bottom to top at 1W): 16, 8, 4 ohms.
55
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from Count Basie’s 88 Basie Street (CD, Pablo/JVC JVCXR 0021-2), burst into the room
without a hint of compression or smear. I
then analyzed Mark Flynn’s drumming in
“Fruit Forward,” from my quartet Attention
Screen’s Live at Merkin Hall (CD, Stereophile
STPH018-2): All of his subtle dynamic swirls
and heaving crescendos were reproduced
as I’ve heard them through more powerful
amps, and as I heard it onstage during that
concert. From my notes: “Full weight. It’s
missing nothing!” On the rock front, Bruce
Katz’s Hammond B3 solo in “Too Proud,”
from Mighty Sam McClain’s Give It Up to
Love (CD, AudioQuest/JVC JVCXR 00122), was captured with all his subtle dynamic
phrasing intact, even as the bass guitar and
drums did some high-level slamming in the
background.
Where the ARC VSi60 fell a bit short
was in full-throated, densely orchestrated
fortissimo passages in large classical works.
The massed Oregon Bach Festival Orchestra and Choir rarely exceeded mezzo-forte in
the loudest passages of the opening movement of Helmut Rilling’s recording of Penderecki’s Credo (CD, Hänssler CD 98.311),
superb remastered release. The combination of the ARC’s dynamic articulation and
transient resolution shone in Charles Wuorinen’s arresting reading of his own Ringing
Changes for Percussion Ensemble, with the New
Jersey Percussion Ensemble (LP, Nonesuch
H71263). The broad range of timbres of the
various instruments reproduced here were
perfectly placed on a wide, deep soundstage,
each instrument entirely separable from the
rest, even in the densest passages. With the
ARC, there was no trace of coagulation.
The VSi60 unraveled an extraordinary
amount of detail from all recordings, at a
level I’ve heard only from amplifiers costing
into five figures. I found myself analyzing
flutist Carol Wincenc’s playing on Tomiko
Kohjiba’s Transmigration of the Soul, from the
Santa Fe Chamber Music Festival’s Festival
(CD, Stereophile STPH007-2). Her breathing technique, all of her flute’s upper partials,
and her phrasing in pianissimo passages were
as captivating as I’ve heard with any other
amplifier. As I analyzed the ARC’s reproduction of this entire work, which by now
I’ve practically memorized (John Atkinson
was kind enough to provide me with a copy
and there were traces of compression and
smearing. I hadn’t heard this compression of
dynamics when my Alón Circes were driven by more powerful amplifiers. And even
though, in the loud passages of Antal Dorati
and the London Symphony’s recording of
Stravinsky’s The Firebird (CD, Mercury Living Presence SR 90226), the bass drum was
reproduced with perfectly clean shudder and
bottom-end depth, I felt there was a bit of
tension in the upper midrange in the loudest
and densest passages.
With every recording I played, the VSi60
reproduced all transients with flawless speed
and articulation and no trace of smear or
hardness. Christopher Thomas’s machinegun snare action in the frantic instrumental interludes of “Cousins,” from Vampire
Weekend’s Contra (CD, XL XLCD429), was
reproduced in all its rapid-fire glory with
the transient envelope of each drum stroke
perfectly intact. For a slower drum showcase, Ringo Starr’s delicate tom-tom action
in “Come Together,” from the Beatles’ Abbey
Road (CD, Apple 382468 2), was reproduced
with perfectly paced, linear dynamics. easily
revealing all the percussive subtleties on this
measurements, continued
10
1
0.1
0.030
0.1
1
10
100
Fig.4 Audio Research VSi60, 4 ohm tap, distortion (%) vs 1kHz continuous
output power into (from bottom to top at 1W): 16, 8, 4, 2 ohms.
3
(14dBW) from the 4 ohm tap at 6% THD; however, the 0.6dB shortfall in
power will be inconsequential.
Provided the speaker load is equal to or greater than the nominal value
of the VSi60’s output transformer tap, the distortion at a level equivalent to
5W into 8 ohms remains below 0.1% in the midrange and below (fig.5, 8
ohm tap; fig.6, 4 ohm tap), though with a rise in THD in the upper audio
octaves. The distortion is predominantly the subjectively innocuous loworder harmonics, even at moderate power levels (figs. 7 and 8). However,
fig.8 indicates that the amplifier’s power supply is working hard, with the
fundamental and third-order harmonics of the 60Hz AC power frequency
almost as high in level as the distortion harmonics, particularly in the right
channel (fig.8, red trace). The 120Hz component lies at –96dB in this graph
(0.0015%), suggesting that the circuit benefits from optimal grounding.
These odd-order power-supply harmonics led to sidebands to either side
3
T
2
2
1
1
0.5
0.5
%
%
0.2
0.2
0.1
0.1
0.05
0.05
0.03
20
50
100
200
500
1k
2k
5k
10k
20k
Hz
Fig.5 Audio Research VSi60, 8 ohm tap, THD+N (%) vs frequency at 6.3V into:
16 ohms (green), 8 ohms (blue), 4 ohms (red), 2 ohms (magenta).
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69982_eprint.indd 57
0.03
20
50
100
200
500
1k
2k
5k
10k
20k
Hz
Fig.6 Audio Research VSi60, 4 ohm tap, THD+N (%) vs frequency at 3.9V into:
16 ohms (green), 8 ohms (blue), 4 ohms (red), 2 ohms (magenta).
57
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A udio R esearc h V S i 6 0
of the score), I compared it with its sound
through the many more expensive amps I’ve
heard, and concluded that the VSi60 wasn’t
missing a damn thing.
The ARC made me want to compare
various recordings. I began by analyzing
saxophonist Sonny Rollins’ playing on “Pannonica,” from Thelonious Monk’s Brilliant
Corners (45rpm LP, Riverside/Analogue
Productions RLP-2226), and felt he sounded much more boisterous and not nearly as
mellow as he did on “I’m an Old Cowhand,”
from his own Way Out West (CD, Contemporary/JVC VICJ60088). The VSi60 made
these differences quite apparent.
I then compared two mid-1960s folk-rock
albums from the same label and noticed
how easily the ARC delineated the differences between the engineering of the voices.
On “Morning Morning,” from Richie Havens’ Mixed Bag (LP, Verve Forecast 3006),
Havens’ voice is rich, deep, and vibrant, with
just the right amount of reverb added to give
a touch of syrup to his rusty growl. (I get
a kick out of the fact that my favorite mellow ballad on this album is a Fugs tune.) On
the other hand, the musically superb “So-
the Creek did fairly well, with an uncolored
midrange and tight, deep, extended bass.
However, the VSi60 had superior resolution
of detail, articulation of low-level dynamics,
and retrieval of ambience, and its highs were
far more extended and airy. I also felt it was
easier for the ARC to differentiate among
instruments.
ciety’s Child,” from Janis Ian’s eponymous
debut album (LP, Verve Folkways 3017), is
a sonic disaster, and the ARC revealed it as
such. The excessive studio reverb on Ian’s
edgy voice makes her sound as if she was
recorded in a water tank. (Can you imagine
this 15-year-old kid going into the studio to
record her first album and saying, “Okay, I
The VSi60 unraveled an extraordinary amount of detail from all recordings, at a level I’ve heard
only from amplifiers costing into five
figures.
want a Hammond B3 and a harpsichord on
this tune”?)
Stepping up to the higher-priced Audio
Valve–MIT–ARC rig, it was immediately
clear that the VSi60 was cut from the same
sonic cloth as the Reference 110. They
shared the same clear, extended, pristine
highs, superb transient articulation, and retrieval of detail. The more expensive combo
did reveal more detail, low-level dynamics,
and ambience, but the difference wasn’t
as dramatic as I’d expected. There was a
Comparisons
I compared the VSi60 with my Creek Destiny integrated amplifier ($2500), as well
as to my AudioValve Eclipse line stage and
ARC Reference 110, linked by an MIT
Magnum M3 balanced interconnect (combined prices now $20,000). As I’d expected,
measurements, continued
+0
-10
of the two signal components in the spectrum of the VSi60’s output while
it reproduced an equal mix of 19 and 20kHz tones at a level close to visual
clipping on the oscilloscope screen (fig.9). As anticipated from the circuit’s
decreasing linearity in the top audio octave, the 1kHz difference tone in
this graph is moderately high in level, at –60dB (0.1%), and reaches –50dB
(0.3%) at 19W peak from the 4 ohm tap into 4 ohms (not shown). The
higher-order intermodulation products are all lower in level, however.
To a large extent, the Audio Research VSi60’s measurements are much
as I would have expected from a tube amplifier using a single pair of 6550
output tubes per channel, with low loop negative feedback, and offering
the sizes of power supply and output transformers that are possible at its
price. But it’s nicely engineered for all that. Just make sure you use the ap—John Atkinson
propriate output transformer tap for your loudspeakers.
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-30
-40
-50
d
B
r
-60
A
-80
-70
-90
-100
-110
-120
-130
-140
100
200
300
400
500
600
700
800
.9k
1k
Hz
Fig.8 Audio Research VSi60, 4 ohm tap, spectrum of 50Hz sinewave,
DC–10kHz, at 10W into 8 ohms (linear frequency scale).
+0
4
-10
-20
-30
Data in Volts
2
-40
-50
0
d
B
r
-60
A
-80
-70
-90
-2
-100
-110
-120
-4
0.0
-130
0.5
1.0
1.5
2.0
Time in ms
Fig.7 Audio Research VSi60, 8 ohm tap, 1kHz waveform at 13.7W into
4 ohms (top), 0.175% THD+N; distortion and noise waveform
with fundamental notched out (bottom, not to scale).
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69982_eprint.indd 59
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2.5k
5k
7.5k
10k
12.5k
15k
17.5k
20k
22.5k
Hz
Fig.9 Audio Research VSi60, 8 ohm tap, HF intermodulation spectrum,
DC–24kHz, 19+20kHz at 25W peak into 8 ohms (linear
frequency scale).
59
8/18/10 7:28 AM
HIGH DEFINITION
A udio R esearc h V S i 6 0
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me. Why would a higher-powered amp with
whether
or old.
Audio
Research
a similar
circuit new
topology,
bigger
transformis
an
investment
in
sound
technolers, and better parts produce a bottom end
ogy and value that lasts a lifetime.
slightly inferior to that of the baby integrated,
especially
the Ref record
110 wasfor
coupled
An when
unmatched
with aproduct
line stage support.
and interconnect both renowned
for kick-slammin’
lowpride
end?inCould
Audio
Research takes
it be that
the mere
elimination
of an
active
stocking
a vast
(and costly)
array
of
line stage
and
a
set
of
interconnects
removes
electronic parts and components
a layernecessary
of impuritytoinsupport
the signal
that rethepath
entire
sults inrange
superior
bass definition?
ARC
of products
it has Could
manufacbe telling
us that
nolast
longer
needdecades.
a separate
tured
overwe
the
three
1
active line
The stage?
company
maintains a highly
At the
end oftechnical
this comparison,
I shook my
trained
staff dedicated
F
grated amplifier of staggering quality,
want the naturalness and High
Research components earn loyalty
versatility,
and
Definition of Audio Research withfrom customers and high
resalevalue.
®
value in the used market.
head. Why was I bothering with a separate
A single, superior level of
line stage if this integrated is such a high-levmanufacturing quality.
el performer? I seriously pondered a scenario
end”Valve–MIT–
audio
in Many
which so-called
I would sell“high
my Audio
manufactures
are
actually
marketARC rig, buy the review sample of the
ing and
companies
whomy
VSi60,
and distribution
use the leftover
cash to buy
use
outside
subcontractors
for
wife a new barbecue grill. What stopped me
much, if not all of the assembly and
from doing so was not the VSi60’s sound,
testing of their products. That's not
but an equipment reviewer’s need to have a
out the periodic maintenance
required
vacuum-tube
designs,
separateby
line
stage and power
amp in order to
these
models
represent
logical
review
a broad
range of a
electronics.
choice. The two approaches–a tube
Payoff
preamplifier
with a solid-state
power
for example–can
In theamplifier,
VSi60, Audio
Research has produced
also
combined
for musically
an be
integrated
amplifier
of staggering quality,
excellent
results.
versatility,
and value. It should be considered
only by anyone seeking an integrated
Anot
professional
worldwide
amp anywhere near its price, but also by
network of retailers and
anyone shopping for a separate tubed line
importers.
good enough for Audio Research,
where one hundred percent of all
stage and power amplifier together costing
Audio Research components are
assembly, soldering
and testing is
ASSOCIATED
equipment
upwards of $10,000. That person could then
available only through specifically
done in-house
highly
ANALOG
SOURCE by
VPIour
TNTown
IV turntable,
use the resulting savings to buy better speakauthorized, independent specialty
Immedia
trained,tonearm,
experienced craftspeople.
ers, or maybe even a kickass, Fremer-quality
retailers
and importers on every
Koetsu
FromUrushi
least cartridge.
to most costly, every
analog front end.
DIGITAL SOURCE Lector CDP-7T, Creek
continent.
Warranty service, product
Audio Research model is designed
I felt sad when I packed up the VSi60 to
Destiny CD players.
support
for
older models and expert
and manufacturedVendetta
to a uniform
ship itisback
to ARC.
I didn’t want
PREAMPLIFICATION
advice
available
throughout
this to see it
level ofSCP-2D
exacting
quality.
Rugged,
leave—the
first
time
that’s
happened
in 25
Research
phono
stage,
AudioValve
international network of highly
beautifully
finished alloy chassis
years
of
reviewing
audio
gear.
This
captivatEclipse
line stage.
experienced professionals. Most
components,
audiophile
grade conPOWER
AMPLIFIER
Audio Research
ing andbrands
enticing
little
dream
of of
an amp is a
esoteric
lack
this
depth
nectors,110.
and heavily-plated circuit
Reference
sleeper.
Look
for
it.
Ignore
its
power
rating,
support for their products.
boards, carefully
selected
LOUDSPEAKERS
Alón
Circe. resistors,
kick back, and listen to its magic.
nn
CABLES
Interconnect:
MITsonically
Magnum M3 &
capacitors
and other
We never stop listening.
MI-350
CVTwin
Terminator.
Speaker:
Acarcritical
components
from
leading
From
the in-house
listening
1 Apparently
not. Audio Research
has justpanel
released their Referianspecialists
Systems Black
Orpheus.
around
the world are the
enceworks
Anniversary
line stage ($24,995), with
which, Warren Gehl tells
that
hand-in-hand
ACCESSORIES
by ASC,Research
Bright Star,
me, is the most significant product ARC has ever developed. He
hallmarks ofVarious
every Audio
our
engineers
in the
claims
its sound quality
is an development
order of magnitude (ie, 10 times)
Simply
Physics,
Sounddifferences
Anchor, VPI.lie
—Robert J.
model.
The main
in
higher
than
that of theirto
current
line stage, the Reference 5
of
new
products,
ourtopdedicated
Reina
($11,995).
convenience features, number and
specialists
who
listen
to
each
and
solely to the servicing and restoratype of control functions, input/outevery
Audio
Research
product
as
tion of older
models,
as well
putissue
configuration
and size of power
Posted
with permission
from as
the September 2010
of Stereophile ® www.stereophile.com.
Copyright 2010the
Source
Interlink
Media.
rights
reserved.
final
step
in Allour
comprehensive
to the maintenance of productsFor more information
about theRegardless
use of this content,
Wright’s
Media at 877-652-5295
supplies.
ofcontact
which
Audio
Quality Assurance process, the
covered by the company's Three
Research model you choose, you
human ear continues to be the most
Year Limited Warranty. Any older
are assured of unparalleled build
important test equipment used at
model bearing the Audio Research
quality and uncompromised High
Audio Research. Even decades-old
marque can be restored to original
Definition® performance.
models sent in for service or restofactory performance specifications.
ration are thoroughly listened to
Vacuum-tube
or
solid-state,
In addition, a complete inventory of
in a reference music system before
the goal is the same.
selected and tested vacuum tubes
they are cleared for return to their
Though renowned for its many sucneeded for each model is available,
eager owners.
cessful vacuum-tube based designs,
assuring the Audio Research owner
Listening is always the first and
Audio Research also prides itself on
of quality vacuum tubes and best
last step in bringing music lovers
state-of-the-art solid-state models
performance. Support like this is
lasting value.
that have musicality as their first
an important reason why Audio
priority. For those music lovers who
3900 Annapolis Lane North / Plymouth, Minnesota 55447-5447 / PHONE: 763-577-9700 FAX: 763-577-0323
Visit us at http: //www.audioresearch.com
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