QUAD 99 CD Manual do Utilizador descarregar pdf (Página 2)

Design

team head

lason Creenslade

and Peter

Comeau,

Dire€tor of

Acoustic

Design, were

given

ab et to'ensure

that every

Elite component

surpasses

the

perlormance

its

predecessor.'

Three

years

were

spent sctutinising

every

component,

'through an

exhaustive

process

ot modifying,

measuring,

listening

then modifying

again,'

to morph the

99 models

into Elite

components-

The 99/

Elite relationship

is close,

with all

critical changes

being internal;

those moving

lrom the older

series

to th€

new willlind

the Elite models

immediately

familiar,

right down

to identical

dimensions and

nearly'

identical control

panels.

Aside

from

a change

to an almost-black

charcoal

tinish

lrom the silver/champagne

of the 99

range, and a

slimmer-

look lascia

without the

drop-down

nameplate,

the

physical

resemblance

ensures

continuity.

the

power

amplifiers.

Features include

bypass-switchable

ilter adjustment

for

bass and

treble, and the

aforementioned

'tilt'control to tailor the entire

frequency

response to the

user's

preference.

The

circuitry

boasts noiseless

solid-state

signal switching

and'digitally

addressed'

analogue volume

and balance

controls,

said

to track both

left and riqht channels

with

better-than-0.1

dB accuracy.

The specified

phono

stage offers both

Mlvl and

N,4C settings, and

the unit accepts

four line sources

plus

a tape

in/out, as

well

as RCA

phono

main output for

driving

amps

without AmP

Bus.

While

nothing I can say will

deter

cable addicts

from using the

Elites in a

conventional

manner, f urther examination

of the Amp Bus and

Quad

Link shows

that

the

systems address

more than remote

control

convenience and

easy wiring.

Quad

Link carries

the audio signal

in fully

balanced

form, while

Amp Bus delivers

balanced

audio and control

signals

between

the Elite Pre

preamp

and Stereo

or Mono

power

amps. For complex

speaker

systems, the

Amp Bus allows

users to

employ several

power

amps, daisy-chained

for bi-amp

or even tri-amp

usage. A rotary

control at

the back of each

amp acts as

a channel selector

to direct the

signals

accordingly,

including

a setting for use

with

other

preamps

which

Iack Amp

Bus.

150W the Elite Mono

had no trouble

driving Wilson

Sophia 2s via YTER

cables,

as well as Tannoy

MiniAutographs,

L53i5As

and a

pair

of Sonus

faber Auditor Elipsas.

I also

used the Linn LPl2iEkos/Arkiv

front

end, and

played

the Elites alongside

Series components.

18ll

our

WITII THE OLD?

While

I wanted to spend

more time with a

recent batch

of LPs

I couldn't

resist three

new Nick Lowe

LPs from Yep Roc

I knew

that I had to focus

on the sources.

suffice

it to

say, the

phono

stage

was very

good,

certainly a

match for outboard

stages

€50-€100 but lacking

the

dynamics of an Audio

Research

PH5 or

Quad's

own valve

phono

stage.

But that would

be to

forego convenience

lor an

'The

Quads

ABOVE: Central,

lozengeshaped

buttons allow

all actions to be accessed,

but moSt

users will

use

the comprehensive

rcmote control

Lauper can

indeed sing

the blues. The

FM tuner captured

all of the delicious

juxtaposition

punch

and silkiness

on the

well

recorded CD, which

I had to hand

for

a swift AiB.

spoken word broadcasts

were

sibilance-f ree

and intimate.

clearly, the

player

will

be the

prelerred

choice,

even without

knowing

how

the forthcominq

CDP replacement

(with onboard digital

preamp) might differ

lrom the CD5.

Those

wedded

to FlVl will

disagree,

but I must

have

freedom of choice,

and the

cDS forced me

play

CD after

cD. lt's

been

good yearlor

nuance, sailed

the

vocal

heiglhts'

preserved

increase

in detail. lt is not

an afterthouqht.

As for

the tuner, that was

dispatched

quickly.

Fed via

my roof aerial

and set to

the few stations

that come through

with

anyvigour in East

Kent, the sound was

rich

and

warm and a complete

repudiation

DAB, which

I continue to despise

on an

increasinq basis.

cod forbid they

should

switch off FM. Radios

2.3 and 4 sounded

blissfully

realthrough

153i5tu, and lthank

Paul Jones

for reminding me

that cyndi

tastes, and

I had to hand

17 or so discs

that

kept me

glued

to the

Quad

stack.

They arrived

in the lorm of

a box: the

magnificent

Apple

box set, with fresh

remasters

of albums

by artists such

Jackie

Lomax, Billy Preston,

James Taylor,

Mary Hopkin

and the magnificent-yet'tragic

Badfinger. lhad

forgotten how

sublime

were

these recordjngs,

as did most

who

bought

them at the time.

Why? Because

Apple was

The Beatles'

label, and Eeatle

TANUARY 2011

www.hifinews.co.uk

149

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