gmc
New Head-Fier
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- Aug 20, 2001
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The following review is gathered from about a week with the SR-007/SRM-007t combination. Other's experiences are welcome.
Equipment used for review:
Mark Levinson 31.5 Reference CD Transport
Mark Levinson 30.6 Reference Digital Processor
Transparent Balanced Reference XL Interconnects
PS Audio P300 Power Plant
Summary:
An outstanding system that, with a reference level source (this is crucial), will provide a class A+ listening experience.
The Hardware:
SR-007
The Omega II earspeakers, with the exception of the cables, look like oversized dynamic headphones. Two metal bands and a leather strap go over the head to hold the unit in place. The leather covered ear pads, while circular on the outside, are "D" shaped on the inside and rotate to allow for forming a semi-airtight seal over the ear. The housings containing the transducers also rotate to allow one to orient them as well. The metal bands are adjustable to provide a proper fit over the head. After fiddling with the various adjustments, the Omega IIs fit very comfortably. Note that properly adjusting the earspeakers is important to not just comfort, but to achieving the best sound as well.
SRM-007t
This unit provides a combination dual FET first stage and twin triode (6FQ7/6CG7) second stage tube amplifiers for each channel for driving Stax earspeakers including the SR-007s. It has two sets of line level inputs, one of which is single-ended (RCA) only, while the other can be switched between single-ended and balanced (XLR) connectors. The amplifier design is balanced, so using corresponding sources and interconnects provides for a cleaner signal path. One oddity is that the XLR connector polarity has the non-inverting signal on pin 3 and inverting on pin 2, opposite of what's found on most American XLR connectors. I tried using phase inversion feature on the No. 30.6, but heard little, if any, difference. The SRM-007t has three jacks for connection to Stax earspeakers: 2 "Pro" (580 V bias) and 1 "Normal" (230 V bias). The SR-007 is a "Pro" earspeaker. There is also a quadrupled double-spindle volume control for true balanced attenuation into the first stage amps. The unit takes about 15-30 minutes to reach optimum operating temperature, consumes 55 W, is warm to the touch, and has no fans, so adaquate clearance for cooling is essential. The whole unit weighs over 10 pounds (4.7 kg), and measures 7.7 in. (195 mm) wide, 4 in. (103 mm) high, and 16.5 in. (420 mm) deep. Given its heat dissapation requirements and size/shape, the unit is difficult to place efficiently. It's too deep to stack on anything but a shelf and may present problems in enclosed racks. I ended-up placing mine beside the P300 on a seperate open shelf.
Sound:
The sound out-of-the-box was excellent, but somewhat cold and analyitical, but after breaking it in for a few hours, that began to change. It started to sound warmer and the mid-range accuracy improved. After about 36 hours, the sound was spectactular. The imaging precise, the depth, detail, and feeling of prescence were amazing. The entire audio range was crisp and full. The bass is very solid and its reproduction of mid-range and highs are equally breathtaking. While not quite as open and clear sounding as my Revels powered by Mark Levinson No. 33s, it was nevertheless one of the best reproductions of sound I've heard. I used various CDs including: Rebecca Pidgeon's "The Raven", Suzanne Vega's "Solitude Standing", Tori Amos' "Under the Pink", the MFSL version of Pink Floyd's "Dark Side of the Moon", the MFSL version of Sting's "... Nothing Like the Sun", the MFSL version of U2's "The Joshua Tree", "Koyaanisqatsi" the original soundtrack, various J. S. Bach organ works played by Kevin Bower, and Mozart's "Cosi fan tutte".
Equipment used for review:
Mark Levinson 31.5 Reference CD Transport
Mark Levinson 30.6 Reference Digital Processor
Transparent Balanced Reference XL Interconnects
PS Audio P300 Power Plant
Summary:
An outstanding system that, with a reference level source (this is crucial), will provide a class A+ listening experience.
The Hardware:
SR-007
The Omega II earspeakers, with the exception of the cables, look like oversized dynamic headphones. Two metal bands and a leather strap go over the head to hold the unit in place. The leather covered ear pads, while circular on the outside, are "D" shaped on the inside and rotate to allow for forming a semi-airtight seal over the ear. The housings containing the transducers also rotate to allow one to orient them as well. The metal bands are adjustable to provide a proper fit over the head. After fiddling with the various adjustments, the Omega IIs fit very comfortably. Note that properly adjusting the earspeakers is important to not just comfort, but to achieving the best sound as well.
SRM-007t
This unit provides a combination dual FET first stage and twin triode (6FQ7/6CG7) second stage tube amplifiers for each channel for driving Stax earspeakers including the SR-007s. It has two sets of line level inputs, one of which is single-ended (RCA) only, while the other can be switched between single-ended and balanced (XLR) connectors. The amplifier design is balanced, so using corresponding sources and interconnects provides for a cleaner signal path. One oddity is that the XLR connector polarity has the non-inverting signal on pin 3 and inverting on pin 2, opposite of what's found on most American XLR connectors. I tried using phase inversion feature on the No. 30.6, but heard little, if any, difference. The SRM-007t has three jacks for connection to Stax earspeakers: 2 "Pro" (580 V bias) and 1 "Normal" (230 V bias). The SR-007 is a "Pro" earspeaker. There is also a quadrupled double-spindle volume control for true balanced attenuation into the first stage amps. The unit takes about 15-30 minutes to reach optimum operating temperature, consumes 55 W, is warm to the touch, and has no fans, so adaquate clearance for cooling is essential. The whole unit weighs over 10 pounds (4.7 kg), and measures 7.7 in. (195 mm) wide, 4 in. (103 mm) high, and 16.5 in. (420 mm) deep. Given its heat dissapation requirements and size/shape, the unit is difficult to place efficiently. It's too deep to stack on anything but a shelf and may present problems in enclosed racks. I ended-up placing mine beside the P300 on a seperate open shelf.
Sound:
The sound out-of-the-box was excellent, but somewhat cold and analyitical, but after breaking it in for a few hours, that began to change. It started to sound warmer and the mid-range accuracy improved. After about 36 hours, the sound was spectactular. The imaging precise, the depth, detail, and feeling of prescence were amazing. The entire audio range was crisp and full. The bass is very solid and its reproduction of mid-range and highs are equally breathtaking. While not quite as open and clear sounding as my Revels powered by Mark Levinson No. 33s, it was nevertheless one of the best reproductions of sound I've heard. I used various CDs including: Rebecca Pidgeon's "The Raven", Suzanne Vega's "Solitude Standing", Tori Amos' "Under the Pink", the MFSL version of Pink Floyd's "Dark Side of the Moon", the MFSL version of Sting's "... Nothing Like the Sun", the MFSL version of U2's "The Joshua Tree", "Koyaanisqatsi" the original soundtrack, various J. S. Bach organ works played by Kevin Bower, and Mozart's "Cosi fan tutte".