acoustic research cd 07 review

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Audio Research Reference CD7 CD Player (Hi-Fi+)

• by Chris Binns
• Dec 17, 2008

It’s getting increasingly difficult to ignore the fact that CD technology has been undergoing a bit of a bashing from various quarters recently. With the increasing popularity of downloaded music affecting sales, digital storage getting cheaper by the minute and an increasing number of manufacturers claiming superior results with harddisk drives, there are those that predict that the days of the silver disc are numbered. Déjà vu, anyone? Or possibly poetic justice – its really not that long ago that compact disc was the perpetrator and LP the victim. Only time has shown that the prophets of doom were wrong; as a quick glance at any issue of Hi-Fi+ will testify. But lets look at the facts. Technology does indeed move at a rapid pace, but at the present time downloading is about convenience rather than quality, and moving even CD resolution type files is problematic for most of us, not so much because of the hardware but the limitations of an ancient and overstressed network. As a result (with one or two possible exceptions) most music is offered at best as a FLAC or lossless file. So while the marvels of being able to store a dozen albums on a piece of plastic the size of you fingernail is very much with us, getting them there is more of a problem, and while they are being held on a flash memory, do we yet know how stable that situation is? Then there is the fact that for a lot of us, owning the hardware complete with all the details and artwork is still an important part of the process of listening to and enjoying music. But the real irony is that the major record companies who were so scared of losing revenue through downloading are now so enthusiastic, having eventually realised that they will no longer have to fork out forpressing costs, printing, casework, distribution and retailer mark up.

So yes, I guess that I am sticking up for the compact disc, a situation that surprises me as I have never really warmed to the format, but it scares the hell out of me to think that the quality of mainstream music could drop any lower. That and the fact that for the last few months I have been living with the Audio Research Reference 7 CD player, a machine that has very gently and seductively worked its way under my skin. No startling revelations, just a player that has considerably widened the channels between my CD collection and the desire to listen to the music within it.

The CD7 needs little or no introduction. Despite never receiving a formal review it has become something of a benchmark product, the recipient of an Product Of The Year award last year and part of a system review in issue number 54. RG is a keen advocate and seems reluctant to let it stray too far from his listening room. It looks much like any other Audio research product, brushed aluminium front panel (double thickness as it is part of the reference range) with large handles, black casework and an air of functionality rather than designed aesthetics, an identity that has served the company well for over thirty years. The CD transport is accessed via a sliding panel on the top and utilises a magnetic puck to secure the disc in place. The old-fashioned looking display and basic functions occupy two recesses in the front panel. Like the current pre-amps, I find the plastic switch panel a bit cheap and unrefined by comparison to the rest of the machine; it would be nice to have something a bit more tactile and elegant, but I guess I am being picky as nobody else seems to agree with me.

With an existing CD player in the shape of the CD3 Mk. ll, it was the development of the Ref 3 preamplifier that was to be the major influence in the conception of the CD7, in particular the output stage and associated power supply. By incorporating much of the improved circuitry developed for the flagship line-stage into their existing player, ARC felt that not only was the performance elevated to such an extent that the improvement warranted a new model, but that it was worthy of joining the ranks of their reference range, a privilege indeed. So the ‘7 retains the Philips Pro 2 disc transport, a heavy unit built on a cast chassis that goes against the current trend for lightweight, plastic CD-ROM mechanisms that rattle around at high speed. A lot of care has gone into controlling and dissipating the unwanted vibration from the mechanism and this accounts in no small part for the sheer mass of the machine; it feels more like a power amp than a CD player when you pick it up. Conversion is carried out by a Crystal 24 bit DAC which feeds the gain stage lifted from the Ref 3. Designed around the now familiar Russian 6H30 double triode, the discovery of this valve has had a major influence on the circuit topology of many recent Audio Research products and no less than seven are incorporated into the Ref 7, two per channel form the active electronics while the remaining three go to make up the tightly regulated HT supply. ARC are also making a big deal about the capacitors used in this stage. A swift glance inside the machine reveals the presence of a lot of high grade components and, as you would expect, build quality is to a suitably high standard. Both analogue and digital outputs are provided, and you have the option of balanced and single ended via RCA’s, XLR’s and a 75Ohm BNC.

I’ve lived (occasionally reluctantly!) with quite a few CD players over the last 20 years, of which a surprising number have featured valves in part or all of their analogue stages. Often they’ve been accompanied by a suggestion that, by sounding soft and rounded their incorporation helps to balance out or ameliorate some of the sins committed by digital processing. It’s not a view to which I subscribe; instead they seem to mask or undermine the one or two things that CD does well. Good audio circuitry should be just that, regardless of the devices used, and while ARC have always been a champion of thermionic technology, they are not afraid to use FET’s or transistors where appropriate to achieve a better result. So the inclusion of valves in the Ref 7 is not just an after thought or gimmick, and a quick listen to the CD3 that is essentially the same machine but without the analogue refinement serves to highlight the difference. The Issue 54 system in which I first reviewed the CD7 was designed to balance the performance of CD and vinyl, and included the impressive Kuzma Stabi Reference with a Triplanar Vll and Lyra Skala cartridge. One of my comments at the time was that the difference between analogue and digital replay was not as great as I’d expected it to be, which considering the capabilities of the LP front-end says a lot about what the Audio Research does well. Several months and a lot of discs down the line I am still of the same opinion, and it’s as good a place as any to start when describing the sound of the CD7. This player manages to reproduce more of the air and space in a good recording than the majority of players that I have heard, with the result that music sounds less processed and thus more accessible. But it is not about laying an analogue sheen over the music, rounding off corners or taking the edge away – far from it. The ARC seems to offer 69 unprecedented resolution of the colour and texture of instruments. But it is the sound (or more properly, the lack of it) in between the playing, the structural aspects to music, that suggests a more complete and coherent picture of what is going on, one that’s more akin to the way good vinyl replay does things.

I have had the pleasure of using the CD7 with a considerable range of gear, but probably the longest standing set up involved the Revel Salon ll’s driven by the Goldmund Telos 200 power amps and the Ayre K1Xe pre. After some deliberation, I ended up (unusually) using the balanced outputs from the ARC, which in this particular combination sounded just a little more focused, at the risk of trading a touch of flow and expressiveness.

In terms of character, the CD7 is essentially neutral, but its range of tonal colour and harmonic development mean that it tends toward the rich and full bodied rather than lean and emaciated, while the top end is beautifully sweet and capable of real articulation where required. While it is easy to be beguiled by delicate sounds being reproduced with great clarity and expressiveness, dynamically the ARC is capable of moving pretty fast when the material demands it, from the subtle picking of acoustic instruments through to the raw energy of say The Who – live at Leeds. My only caveat is that with recordings such as this I occasionally felt that the extreme bottom end lacked a bit of impact compared to the rest of the spectrum, robbing the performance of some of the excitement I know to be there from the days of playing it on vinyl.

Having never been a great one for playing round with tweaks and ancillaries, I was a little dubious when RG suggested that I try the platform specifically designed for the CD7 by SRA. Maybe it’s the combination of valves (which are inherently susceptible to vibration) and the mechanics of the transport in the same box, but the support produced a considerable benefit, more than I had anticipated. It sounded, as if the microphone in the bass drum had suddenly been (re-)positioned correctly, as opposed to half way down the hall, and the timing at the bottom end clicked into focus with everything else. The big surprise however, was the vast improvement in imaging and the way in which the music projected away from the loudspeakers; something that I’d thought CD players didn’t do particularly well. So, one more assumption banished.

Another vital area in which the Audio Research excels is its even-handedness when it comes to recording quality.

It always seems to unearth the musical strengths of any disc – even truly crap sounding commercial releases, including a lot of so-called re-masters which actually challenge the use of the “M”-word and make me question my chosen career path.

By now you’ll have figured out that this player exposes and dismisses preconceptions and prejudice with equal ease. As someone who grew up with analogue replay, I sometimes wonder whether it’s fair or even sensible to always be comparing compact disc with records? I still believe that good analogue recording and replay is better at capturing the essence of a performance, what music is really about. That superiority depends on the specific strengths and capabilities of the format; the way it is able to present the information. Yet the ARC CD7 closes the gap significantly, precisely by doing fundamental things as well as a good record player, while still retaining the strengths of digital replay. Can it just be the addition of that sophisticated valve output stage? Whatever the reason it’s delivered considerably greater pleasure from my CD collection than anything else I’ve used. In fact, the CD7 sounds a lot like music, which means that it doesn’t sound like either a CD player or a record deck, the mark of a really outstanding product. As a reviewer there are some products (fewer than you might think) that you just know you’re going to miss when they go. In the last few months the CD7 has snuck so far under my guard that parting with it is going to be quite a wrench…

Tags: AUDIO RESEARCH

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AR A-07 integrated

• Thread starter WickedSharp
• Start date Sep 9, 2016

WickedSharp

Scratchy and crunchy is how i like it.

• Sep 9, 2016

Thoughts on this unit? $80 seem fair? Steve  

Well-Known Member

Seems like a good price for one. I remember when those came out - the last years of Teledyne's ownership of AR. Teledyne spent quite a bit on the R&D of that series, and then advertised them heavily in audio magazines, but ultimately they didn't sell many likely due to their sloped front panel and rather plain looks. Teledyne lost their shirts and sold AR to Jensen. But from what I remember, the amps were engineered quite well. Still, I'd test every function of it before buying.  

• Sep 10, 2016

Picked it up but haven't played with it yet. Can anyone share output specs at 8ohm? I can't find that info anywhere. It's quite clean. Missing one preamp jumper. The gentleman I got it from said he was the original owner as well as the original designer of the amp back in the early '90s. Then he told me it was a piece of history. Pictures later on...  

WickedSharp said: Picked it up but haven't played with it yet. Can anyone share output specs at 8ohm? I can't find that info anywhere. It's quite clean. Missing one preamp jumper. The gentleman I got it from said he was the original owner as well as the original designer of the amp back in the early '90s. Then he told me it was a piece of history. Pictures later on... Click to expand...

Had the A-06. It was my first serious amplifier. Didn't know what I had at the time, but it was real sweet sounding. Sold it because I got seduced by the sexiness of imported British gear and bought a Rega integrated. Wish I had never sold it.  

• Sep 11, 2016

I did find this... A07-Verstärker-Daten: - Vollverstärker mit 7 Eingängen: Phono (MM/MC), CD/AUX, Tuner, Tape 1, Tape 2, VCR 1, VCR 2 (VCR1 und 2 mit Video-Signal-Switch) - Pre-Amp-Ausgang - Vorverstärker-Eingang - Maximale Dauerlast (auch Sinus-Wert genannt): 75 W an 8 Ohm, 110 W an 4 Ohm - Dynamische Last (Peak-Level): 90W an 8 Ohm, 140 W an 4 Ohm So we'd call this 75 wpc at 8 Ohm?  

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AR Turntable Review

About a quarter of a century ago, Acoustic Research developed a turntable whose simplicity, outstanding performance, and low price earned it a unique place in the hi-fi marketplace—and something close to classic status among knowledgeable phonophiles. Aware of the degradation of sound quality caused by acoustic feedback, AR’s founder, Edgar Villchur, designed a turntable (actually a complete record player, since it was available only with an AR tone arm) that was virtually immune to external mechanical excitation.

In addition, the AR turntable essentially eliminated audible rumble by using a very small, low-torque twenty-four-pole a.c. motor (similar to those in electric clocks), which turned at only 300 rpm instead of the 1,800 rpm of the four-pole induction or synchronous motors commonly used at the time. The motor’s fundamental vibration frequency was thus lowered from the very audible 30 Hz of the higher-speed motors to an inaudible 5 Hz. Since the torque of the AR turntable’s motor was relatively low, its platter mass was kept correspondingly small, and it was driven via a light rubber belt. Speeds were changed (between 33-1/3 and 45 rpm) by removing the platter and manually shifting the belt to a different-diameter pulley.

The original AR turntable was upgraded several times before being withdrawn from the market a few years ago, but there has evidently been sufficient demand to warrant designing and manufacturing a new model with the same basic virtues. The new AR turntable that we tested for this report is, in many important respects, almost identical to its respected ancestor. Its styling is much handsomer, however, and it is available either with an AR tone arm or with a “blank” mounting board that can accommodate any of a number of high-quality tone arms from other manufacturers. This option disposes of one of the more persistent and valid criticisms of the earlier model, which paired a superb turntable with a rather old-fashioned and hard-to-replace tone arm.

The key to the remarkable acoustic isolation of both the old and new AR turntables is the rigid coupling of the tone arm to the platter by a T-shaped cast-metal plate. This entire arm-and-platter assembly is then suspended on damped springs from the turntable’s motorboard and base. The extremely soft three-point suspension (we would estimate its resonant frequency as about 2 or 3 Hz) makes it possible for the base or dust cover to vibrate with rather large amplitudes at audio and infrasonic frequencies without transmitting this motion to the arm or platter. And even if the arm and platter do move as a result of external vibration, they do so as a single unit and therefore do not affect the output from the cartridge.

The cast-aluminum outer platter of the AR turntable weighs about 2-1/2 pounds, and the total weight of the platter is given as 3.9 pounds in the specifications. The record mat is a thin disc of felt-like material. The new AR tone arm is a straight tubular design with a low-mass removable headshell. The counterweight, which is moved from a balanced condition to set the tracking force, carries a scale calibrated from 0 to 3 grams in steps of 0.5 gram. A similarly calibrated antiskating dial is mounted on the arm base near the arm-lift (cueing) lever, the downward action of which is viscous damped. Attached to the arm base is a clip that serves as an arm rest or retainer.

The base of the AR turntable is made of oiled walnut and is supported on small rubber feet (which do not serve any isolating function and merely protect the supporting surface). A rocker switch on the top of the base controls the power to the motor, and a small pilot light on the front surface glows when it is on. A hinged clear-plastic dust cover remains open when fully raised (but not at intermediate angles). The turntable’s dimensions are 18-3/16 inches wide, 15-1/4 inches deep, and 7 inches high with the cover closed (a 17-inch vertical clearance is needed to open the cover). It weighs 18 pounds. Price: with the AR tone arm, $429.99; without the arm (but including a blank tone-arm mounting plate), $299.99.

Laboratory Measurements

We installed a Shure V15 Type V cartridge in the AR tone arm for our tests. The measured capacitance of the arm and signal-cable wiring was about 80 picofarads per channel (the nominal rating is 85 pF) with a very low interchannel capacitance of 2 pF. We set the stylus overhang with the aid of the plastic jig furnished with the turntable, and the resulting tracking error was less than 0.33 degree per inch (barely measurable). After the arm was balanced, the actual vertical tracking force was about 0.1 gram higher than the scale setting (this is a function of how accurately the arm is balanced when the player is first set up).

The effective arm mass (exclusive of the cartridge) was a relatively low 9 grams. It is rated at 13 grams, but different measuring techniques can easily account for the difference. With the rather compliant VI5 cartridge the arm system resonated at an ideal frequency, 10 Hz. The antiskating dial had to be set about 0.5 gram higher than the tracking force for optimum correction. Because of the floating suspension, considerable care was necessary to avoid jarring the arm when using the cueing lever, but after some practice we were able to use it effectively. The antiskating torque caused about 5 seconds of a record to be repeated each time the arm was lowered, and the descent took 4 to 5 seconds.

The turntable speed was about 0.3 per cent fast, and its flutter was a very low 0.055 per cent weighted rms (JIS) or ±0.08 per cent weighted peak (DIN). The measured flutter was largely a result of test-record eccentricities, and its components were principally below 10 Hz. As with the original AR turntable, rumble was very low, measuring —40 dB unweighted ( — 46 dB in the lateral plane) and —64 dB with ARLL weighting. The rumble had a broad, random frequency spectrum, and the measurement may have been limited by our particular test setup and the inherent rumble of our silent-groove test records.

Anyone who saw the old AR turntable being demonstrated cannot forget how it could be pounded with a hammer (actually, a soft mallet) without skipping or even adding an audible thump to the music. The new AR turntable is, if anything, even better than the old one in this respect. We were able to strike it as hard as we wished with a fist or open palm with absolutely no audible effect on the program. The isolation system should make the turntable highly resistant to base-conducted vibration, and we expected it to excel in this test. Even so, we were not prepared for a measured immunity to external vibration that was 20 to 40 dB better than' that of any other turntable we have tested in the past couple of years. (Because of changes in our test setup, a close comparison to still earlier units is not feasible.) It is safe to say that the new AR turntable is, by a comfortable margin, the best-isolated record player we have ever used or tested. The only significant transmission took place below 20 Hz, with a minor response at 50 Hz. Anyone who has had problems with acoustic feedback need look no further than the new AR turntable for a solution.

As we noted earlier, one of the few valid criticisms of the old AR turntable concerned the tone arm it included, which was lacking in refinement even by the standards of that time. The tone arm available with the new AR turntable is a very good one that is thoroughly compatible with the turntable and with almost any cartridge one might wish to use. For more demanding audiophiles, however, the blank-mounting-board option permits using the turntable with almost any other arm available.

Our only criticism of the new AR turntable concerns the considerable delicacy needed to handle its arm-cueing lever and the fact that the arm rest lacks any locking device. It is only too easy to knock the arm from its rest clip accidentally, and in the interest of stylus longevity we soon developed the habit of keeping the lift lever up at all times when not playing a record.

The new AR turntable appeals powerfully to our sense of good design. It is almost purely functional yet very attractively and tastefully styled. A simpler record player could hardly be imagined, and, like its predecessor, it should give many years of service with no more maintenance than a periodic belt replacement. And in terms of acoustic isolation, even pounding the base with a hammer (not really a recommended practice, of course) is unlikely to do more than mar the handsome finish.

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Data [ edit ].

• Manufacturer: Acoustic Research
• Model: A-07
• Type: Integrated amplifier
• Years of manufacture: 1991 - 1994
• Made in: Taiwan
• Color: Black
• Remote control: yes, either via tuner T-06 R or optional RC-03
• Power consumption: maximum 300 W
• Dimensions (WxHxD): 430 x 93 x 354 mm
• Weight: 8,9 kg
• Original price approx.: 998 DM

Option remote control: 60 DM

Connections

• Phono (MM/MC)
• TAPE1/TAPE2
• Headphone jack 3.5 mm Jack
• 2 speaker pairs separately switchable
• Pre/power amp separable: YES

Technical Data

• 2 x 60 W into 8 Ohm

2 x 95 W into 4 Ohm

• 2 x 90 W into 8 Ohm

2 x 140 W into 4 Ohm

• Frequency response: 20 Hz - 20 kHz -3dB
• Distortion factor: 0,03 %
• Attenuation factor: 100
• 2.3 mV (MM)

0.18 mV (MC) 150 mV (line)

75 dB (MC) 100 dB (line) channel separation: 70 dB (line)

• Tone control

Bass ±6.5dB ( 100 Hz ) Treble ±6.5dB ( 10 kHz )

• Muting switch
• Tone defeat switch

Notes [ edit ]

• Other models in the same series:
• Integrated amplifiers:
• Acoustic Research A-03
• Acoustic Research A-05
• Acoustic Research T-06
• Acoustic Research T-06 R
• Acoustic Research X-07
• Acoustic Research CD-06 SE
• Acoustic Research CD-07
• Acoustic Research RD-06
• Acoustic Research M 1
• Acoustic Research M 2
• Acoustic Research M 3
• Acoustic Research M 4

Pictures [ edit ]

• Extract from brochure: Acoustic Research A-07, CD-06 SE, RD-06, T-06

Reports [ edit ]

Links [ edit ]

• This page was last edited on 1 June 2020, at 09:41.
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Audio Research CD6 review

If you’re looking for a top-class cd player, this could well be it tested at £8050.

What Hi-Fi? Verdict

If you’re looking for a top-class CD player this could well be it

Wonderful midrange

Strong dynamics

Excellent as a stand-alone DAC

Aspects of finish could be smarter

Remote should be classier

Why you can trust What Hi-Fi? Our expert team reviews products in dedicated test rooms, to help you make the best choice for your budget. Find out more about how we test.

Two things strike us when unpacking Audio Research’s CD6.

First off, we’re surprised that a company so synonymous with valves (even in its digital products) hasn’t used them here. You have to take a jump up to the even more ambitious CD9 for that.

Next, spotting the digital inputs has us pondering the future of dedicated high-end CD players. There aren’t many left that don’t cater for other digital sources.

It makes perfect sense, of course, and gives a machine like the CD6 life after the silver disc is marginalised. Anyone familiar with the brand will find few other surprises here.

Audio Research is part of the high-end establishment, and its enviable reputation has been built on products that perform well and prioritise function over luxury.

After more than 40 years of success, the company is unlikely to change its ways now. The CD6 is an extension of that.

Build is sturdy – it feels like it will last decades. This is helped by a no-nonsense hard-wearing finish. Yet we’re not totally convinced.

We can accept exposed bolts littered over the player’s casework as symbols of Audio Research’s ‘working tool’ rather than ‘luxury trinket’ approach, but why can’t they all be the same type?

We counted three different varieties on view and that makes the player look a little home-made.

We’re also amused by the company’s need to write ‘Digital CD Player’ on the front panel as if there was any other variety.

Slide the manual CD lid on the top panel and you find Philips’s well-regarded Pro2 disc transport.

Don’t be tempted to poke the exposed laser – it’s fragile – and don’t forget to put the magnetic puck in place when loading a disc, otherwise the player won’t work.

The CD6’s front-panel buttons are simply laid out, but not particularly logical in positioning. We end up checking the labelling every time, rather than using them intuitively.

Using the CD6 for a couple of weeks didn’t help with this, either. We use the remote more often than is normal instead. This is a metal handset now, rather than the basic plastic design the company has used for years.

It’s simply laid out, but there’s little flair in the design.

Connections

At the back you will find four digital inputs – a single USB, a coaxial and a pair of opticals.

All the inputs will accept a 24-bit/192kHz input signal. You’ll need to use dedicated software drivers for the USB, but these are simple enough to load.

There’s a pair of digital outputs – AES/EBU and BNC coax – for those with an even more capable DAC, or who want to do a bit of outboard digital processing.

There’s also the usual array of single-ended and balanced analogue connections.

The CD6 builds on the experience of designing even more ambitious digital products, such as the CD9 and Reference DAC and - just like those - the CD6 uses four 24-bit DACs per channel and dual master oscillators: one to govern 44.1/88.2/176.4kHz sampling rates and the other for 48/96/192kHz.

This helps give the most accurate digital timing, leading to better sound quality.

The CD6 offers a choice of filter options - as is the fashion - but thankfully it’s limited to just two: slow and fast (though if you like to tweak, you will be pleased that the user can force the unit to up-sample the source signal).

If you’re using CD, coaxial or optical, this will be to 176.4 or 192kHz (depending on which one is the multiple of the original source signal). USB signals are limited to either 88.2kHz or 96kHz.

We prefer the ‘slow filter’ in our reference system of Bryston BP26 /4BSST2 amplification and ATC SCM 50 speakers, and keep the up-sampling off. It sounds right with this set-up, but you may find different depending on your tastes and system.

Performance

We play a compact disc and the CD6 casts its spell right away. It delivers a convincingly natural presentation that brims with insight and subtleties.

We play Tchaikovsky’s Romeo and Juliet and the CD6’s insight and dynamic reach sweep us away. It renders a wonderfully expansive sound stage, with sharply focused instruments, and a lovely impression of physical depth.

The sound is hugely detailed, with the richness and texture of instruments coming through.

There’s an impressive sense of scale when the music demands, and the sort of wide-ranging dynamic swing that only the very best equipment manages.

There’s plenty of composure too, with the Audio Research never sounding rushed or stretched even when the music gets demanding.

We like the even-handed tonality too, the way no particular instrument gains priority unless the music demands it. Very little hi-fi can actually get its own sonic signature out of the way and let the original recording take centre stage.

This Audio Research CD player is one of the few that can, such is its transparency.

We move on to Nick Cave’s Into My Arms and enjoy the way this player delivers his distinctively coarse vocals. There’s everything here we would want: natural warmth and solidity with fluid low-level dynamics.

The CD6 delivers a masterclass, rendering the piano’s harmonics in beautiful layers. We try the CD6’s digital inputs and are equally impressed.

The pleasing standard set by CD replay continues with high-resolution files from The Rolling Stones ( Gimme Shelter 24-bit/88.2kHz) and Michael Jackson ( Billie Jean 24-bit/176.4kHz) delivered with all the energy they deserve.

Despite its innate refinement, the CD6 doesn’t hold back when it comes to thumping out beats or delivering aggression. Rarely have we heard such all-round excellence.

If you’re looking for a top-class integrated CD player, the CD6 is as good a place to start as any.

It’s one of the best sounding we’ve heard at this price, and for those who need futureproofing (and let’s face it, few of us don’t), easy access to its excellent on-board DAC makes it a really useful product in any high-end system.

What Hi-Fi?, founded in 1976, is the world's leading independent guide to buying and owning hi-fi and home entertainment products. Our comprehensive tests help you buy the very best for your money, with our advice sections giving you step-by-step information on how to get even more from your music and movies. Everything is tested by our dedicated team of in-house reviewers in our custom-built test rooms in London, Reading and Bath. Our coveted five-star rating and Awards are recognised all over the world as the ultimate seal of approval, so you can buy with absolute confidence.

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A History of Moscow in 13 Dishes

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the Vintage Speaker Review

Acoustic Research AR-XA Turntable Review with Specs and Price

The AR xa was up graded to the xb eventually. It added cueing and corrected a flaw from the xa, the inability to put the cover on while playing a record. Your photo shows something interesting. That bar lying across the platter is called a dust bug. Xa owners used them to collect the dust that accumulated while they played a record. It mounted on a pedestal and had a brush and pad on the other end, that went across the record, like the tone arm and cartridge, cleaning the record as it played.

I am still using my AR-XA that I bought new in the early 70's. It spent a number of years in a box as I was not spinning much vinyl as we all transitioned to CD's and digital media. However, I have gotten it out of the box recently, cleaned it up and am now using it to digitize some priceless (to me) old vinyl albums. It still sounds great. I think that I paid just under $100 for it back in about 1973.

The fact that the dust cover could NOT be in place during playing was not a defect. It was the intentional design by E. Vilchur to ensure that no resonance induced by the cover could occur. Making the cover useable while playing is a performance downgrade that was made after Vilchur sold/left AR.

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Moscow City Symphony-Russian Philharmonic/Dmitri Jurowski – review

G lorying in a name that seems to have been chosen by a very large committee, the Moscow City Symphony-Russian Philharmonic is a smart modern orchestra based in the city's glitzy modern concert hall . Judging by its London debut, however, it is old-school where it counts.

Its chief conductor is Dmitri Jurowski , and his appearance meant there would be a Jurowski on the Festival Hall podium four times in a week; big brother Vladimir was in the audience to cheer him on. The programme was Russian and proud. Extracts from Prokofiev's ballet Cinderella immediately introduced a distinctive sound, soft-edged but hefty, with well-blended strings underpinned by weighty low woodwind; the rasp of the bass clarinet and contrabassoon were to become gratifyingly familiar sounds.

But not so much in Prokofiev's Third Piano Concerto, in which the orchestra seemed to be consciously ceding focus to Alexander Ghindin 's piano playing. While Ghindin was all offhand, unfussy brilliance, the orchestra were neat and contained – except, that is, for the opening of the slow movement, when the flute phrasing made the melody sound positively flirty, and Ghindin responded in smooth, almost louche style. His encore, Rachmaninov's G minor Prelude, whizzed by in a flurry of sonorous chords, but the richness with which he brought out the secondary melodies in the middle section spoke of attention to detail worn lightly.

That was just a taster for the main Rachmaninov event – the colossus that is the Symphony No 2, approached by Jurowski with a certain lightness of touch and all the better for it. It was because he began the third movement so gently and at so flowing a pace that he was able to make such an impact with the sense of stillness after its climax. The second movement was crisp, the finale buoyant – and the encore, the Infernal Dance from Stravinsky's Firebird, was a flamboyant signoff from an orchestra confident of hitting its mark.

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Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021

• Published: 07 December 2022
• Volume 151 , pages 871–889, ( 2023 )

Cite this article

• Sergey Chalov   ORCID: orcid.org/0000-0002-6937-7020 1 , 2 ,
• Vladimir Platonov 1 ,
• Oxana Erina 1 ,
• Vsevolod Moreido 1 , 3 ,
• Mikhail Samokhin 1 ,
• Dmitriy Sokolov 1 ,
• Maria Tereshina 1 ,
• Yulia Yarinich 1 &
• Nikolay Kasimov 1  

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In 2020 and 2021, the city of Moscow, Russia, has experienced two historical rainfall events that had caused major flooding of small rivers. Based on long-term observation datasets from the surrounding weather stations, regional mesoscale COSMO-CLM climate model results, and a detailed hydrological and water quality monitoring data, we performed a pioneer assessment of climate change and urbanization impact on flooding hazard and water quality of the urban Setun River as a case study. Statistically significant rise of some moderate ETCCDI climate change indices (R20mm and R95pTOT) was revealed for the 1966–2020 period, while no significant trends were observed for more extreme indices. The combined impact of climate change and increased urbanization is highly non-linear and results in as much as a fourfold increase in frequency of extreme floods and shift of water regime features which lead to formation of specific seasonal flow patterns. The rainstorm flood wave response time, involving infiltrated and hillslope-routed fraction of rainfall, is accounted as 6 to 11 h, which is more than twice as rapid as compared to the non-urbanized nearby catchments. Based on temporal trends before and after rainfall flood peak, four groups of dissolved chemicals were identified: soluble elements whose concentrations decrease with an increase in water discharge; mostly insoluble and well-sorted elements whose concentrations increase with discharge (Mn, Cs, Cd, Al); elements negatively related to water discharge during flood events (Li, B, Cr, As, Br and Sr); and a wide range of dissolved elements (Cu, Zn, Mo, Sn, Pb, Ba, La, Cs, U) which concentrations remain stable during rainfall floods. Our study identifies that lack of research focused on the combined impacts of climate change and urbanization on flooding and water quality in the Moscow urban area is a key problem in water management advances.

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The effects of urbanization on runoff pollutant concentrations, loadings and their seasonal patterns under cold climate.

Marjo Valtanen, Nora Sillanpää & Heikki Setälä

Anthropogenic factors affecting the Moskva River water quality: levels and sources of nutrients and potentially toxic elements in Moscow metropolitan area

Galina Shinkareva, Oxana Erina, … Nikolay Kasimov

The effects of climate variability and land-use change on streamflow and nutrient loadings in the Sesan, Sekong, and Srepok (3S) River Basin of the Lower Mekong Basin

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The datasets generated during and/or analyzed during the current study are available from the corresponding author on reasonable request.

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Field studies were supported by Russian Science Foundation project 19–77-30004. The analytical experiments were done under Ministry of Science and Higher Education of Russian Federation project 075–15-2021–574. COSMO-CLM model setup is a part of RFBR project 21–55-53039. The methodology of this study is developed under the Interdisciplinary Scientific and Educational School of Lomonosov Moscow State University «Future Planet and Global Environmental Change» and Kazan Federal University Strategic Academic Leadership Program (“PRIORITY-2030”). The research is carried out using the equipment of the shared research facilities of HPC computing resources at Lomonosov Moscow State University. Streamflow patterns analysis was carried out under Governmental Order to Water Problems Institute, Russian Academy of Sciences, subject no. FMWZ-2022–0003, project 3.7.

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Faculty of Geography, Lomonosov Moscow State University, Leninskie Gory, 1, 119991 GSP-1, Moscow, Russia

Sergey Chalov, Vladimir Platonov, Oxana Erina, Vsevolod Moreido, Mikhail Samokhin, Dmitriy Sokolov, Maria Tereshina, Yulia Yarinich & Nikolay Kasimov

Kazan Federal University, Kremlevskaya St., 18, 420008, Kazan, Russia

Sergey Chalov

Institute of Water Problems of the Russian Academy of Sciences, Gubkina Str., 3, 119333, Moscow, Russia

Vsevolod Moreido

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Conceptualization, original draft preparation—Sergey Chalov; numerical experiments conducting and evaluation, precipitation data analysis, writing—Vladimir Platonov; the rainfall-runoff patterns analysis—Vsevolod Moreido; methodology, validation, writing—Oxana Erina, Dmitriy Sokolov, Maria Tereshina, Mikhail Samokhin; precipitation data preparation and visualization—Yulia Yarinich; review, editing—Nikolay Kasimov. All authors have read and agreed to the published version of the manuscript.

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Correspondence to Sergey Chalov .

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Chalov, S., Platonov, V., Erina, O. et al. Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021. Theor Appl Climatol 151 , 871–889 (2023). https://doi.org/10.1007/s00704-022-04298-9

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Received : 31 August 2022

Accepted : 23 November 2022

Published : 07 December 2022

Issue Date : January 2023

DOI : https://doi.org/10.1007/s00704-022-04298-9

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