• That reflects both the inherent qualities and character of analog sound, but also the fact that record replay has significantly upped its game in the face of ever-increasing competition from high-res digital sources. These days, serious record collectors and listeners wanting the best possible sound will seek out rare original pressings, appreciate the virtues of mono (as opposed to many stereo) releases and purchase their discs, new and used, from all over the world. Likewise, the once simple process of playing those discs can achieve levels of sophistication and record-by-record optimization we never dreamed of, back when the vinyl LP was the only high-quality format.
  • Of course, it is digital conversion that lies at the heart of the C1.2. The perfect preservation of time and amplitude information is critical to reproducing musical signals stored in digital formats and we believe that the advances incorporated in the C1.2 build significantly on the solutions adopted in the C1, taking digital performance(s) to a whole new level. Both noise and jitter are central to the design of any high-performance DAC. We have developed an entirely new MEMS-based, shunt regulated and thermally compensated clock for the C1.2, improving clock accuracy significantly (as well as providing highly developed clock-sync and external reference clock options). A four-fold increase in processing power has allowed us to further refine the proprietary CH-PEtER algorithms, introduce 32-bit fixed point processing and increase input compatibility to include all high-resolution digital formats, whether from optical or file replay sources. Our proprietary CH-Link HD interconnection allows the transfer of native DSD and MQA data in the digital domain, from the D1.5 transport to the C1.2. The AES/EBU and S/PDIF inputs accept PCM at up to 192kHz/24bit resolution, while the HD streaming input will accept PCM data at up to 768kHz/32 bit resolution and DSD512(8x). Local regulation of the DSP and FGPA further reduce the system noise floor. The DAC itself employs no fewer than four converter chips per channel, in a fully differential, dual-mono topology. The vital analog output stage is discrete, fully differential, Class-A and DC coupled. The modular input architecture ensures that the C1.2 remains future proof, able to adapt to changing digital standards or system demands.
  • The heart of any disc player is the transport mechanism itself. But what do you do if current mechs simply aren’t up to the job? If you are CH Precision, you build the CH Precision D1.5! The carefully selected optical pick-up and motor are precisely mounted on a massive brass sled that weighs almost 1kg (2.2lbs). This high-mass lowers the mechanical resonance frequency of the module several orders of magnitude lower than in most other transports, while ensuring an ideal counter-weight to the torque of the spinning disc. The critical mechanical parts of our proprietary Mechanically Optimized Reading System (MORSe) are built entirely in-house. The complete module is isolated from the rest of the chassis using four alpha-gel isolators, fine-tuned to filter vibrations all the way down to AC mains frequencies. This prevents vibrations generated by the spinning of the disc from reaching sensitive electronic boards, as well as low frequency vibrations originating in the power supply or chassis disturbing the accurate tracking of the laser mechanism.
  • The problem is, that as soon as you have more than one box (and one master clock) in the system – for instance, if you use a transport and DAC – then the errors can increase exponentially. The easiest solution is to synchronize the two clocks, designating one as the master and slaving the other to it. That’s exactly the solution provided by the Clock-Sync cards available for the CH Precision D1, C1 and I1, while the sophisticated software control incorporated into each of the units allows owners to designate master and slave according to circumstances and system topology. But what’s better than syncing two or more units to a single master clock? Syncing them all to a single, superior, external reference point – a reference like the T1 Time Reference external clock. The T1 generates a super accurate, low-jitter signal that delivers measurably lower phase noise and more accurate transfer and conversion of digital signals. It is built around a high-frequency 10MHz oven controlled oscillator (OCXO), its core temperature and output further stabilized by encapsulation in a mechanically isolated billet aluminum block. Why not just use one of the popular and readily available Rubidium clock modules like everybody else? Because those Rubidium modules have a limited life span – generally between six and eight years – and they contain radioactive material. At CH Precision we expect our products to have a much longer working life than that, so incorporating components with a finite life is contrary to all our beliefs – especially if those components then present a serious disposal issue.
  • This is one area of technology where size really matters – just not necessarily in the way that you might assume. The critical circuits in your audio system run on DC voltage. The level of that voltage needs to be precise and the level of residual noise it carries needs to be as low as possible. All CH Precision components contain sophisticated power supplies with extensive local DC regulation. But this is one field in which you can never put too much protection between the signal path and the noisy, RF polluted and mechanically intrusive AC supply. The X1 is an optional power supply for the C1.2, D1.5, L1, and P1. The X1 can be fitted with single or double regulators which powers up to two components without performance sacrifice. It is recommended the dual regulator power up only digital or all analog sources.
  • On the face of it, all a line-stage has to do is allow you to select between sources and set the system level. Sounds simple? Yet, not only is the quality and performance of the line-stage an absolutely key factor in determining overall system performance, there are fewer contenders for stateof-the-art line-stage honors than in any other product category. Maybe designing the best possible line-stage isn’t quite so simple after all.
  • The I1 is supplied in standard form equipped with four digital inputs (CH-Link HD, AES/EBU, S/PDIF and TosLink – although a second identical digital input board can be added in the spare chassis slot if you need the extra connections) one set of balanced and two pairs of single-ended analog inputs. The factory fitted Ethernet Control Board, which allows the unit to be remotely accessed, configured and controlled via the CH-Control Android App, can be replaced with a full network streaming capable Ethernet input and a separate, asynchronous USB input card can be added to enable connection of computer sources for file replay. The discrete, fully-complementary analog input boards can be fitted with additional internal circuit blocks that allow owners to convert either or both of the RCA analog inputs into current-sensing MC phono-inputs, complete with switchable replay EQ settings for RIAA, eRIAA, Decca, Columbia, EMI and Teldec (DGG) curves. Finally, a Clock- Sync board allows you to slave the I1 to external master clocks, or designate its internal clock as the system master. Dominating the interior of the I1 chassis, you’ll find a massive 1000VA transformer that’s more than capable of supporting the 100 watt/channel into 8 Ohms rated output; in combination with the 100,000uF of reservoir capacitance it allows the output stage to handle awkward loudspeaker loads with ease.
  • Faced with exactly the same challenges as the M1.1, the A1.5 embodies the same sophisticated, modular and scalable approach. It might be (slightly) smaller than the M1.1 and around two-thirds of its weight, but it’s still four amplifiers in one. It still offers the same adaptable, software controlled topology, adjustable input configuration and gain, user selectable global feedback ratio and cost-effective upgrade path. It offers exactly the same, incredibly short signal path, fully discrete, fully balanced and fully complementary circuit, built with the same carefully selected components to the same exacting standards. Even the casework, although shorter, has the same footprint, uses the same construction and includes the same mechanical grounding/stacking system. In fact, in every important way, the A1.5 is, quite literally, an M1.1 writ small – or, in Hollywood terms, “Honey, I shrank the amp…”.
  • The problem is that although power amps themselves might appear simple, their job is anything but straightforward. Caught in a sandwich between the output of a line-stage or DAC and the load requirements and sensitivity of any number of different loudspeakers, they must be able to accommodate the widest range of partnering equipment and interface parameters presented to any unit in the audio system. Achieving optimum results under such varied conditions demands a capable and versatile performer – yet as we’ve already established, most power amps offer a single, brute force solution to the problems they face, instead of adopting a more sophisticated response. It’s time for a change – it’s time to meet the CH Precision M1.1, a new-paradigm in power amplification. What sets the M1.1 apart? It goes without saying that the M1.1’s sonic and musical performance challenges the state-ofthe- art, an incredibly short audio signal path executed with exacting component choices and construction, a massive power supply providing absolute stability and unfettered headroom, capable of meeting both the most delicate and most massive musical demands. But what makes the M1.1 really different is its software driven housekeeping capabilities, a non-intrusive support network that does more than just keep the amplifier unconditionally stable.
  • When it comes to musical integrity, nothing says “walk silently – but carry a big stick!” quite like the new L10. When it comes to high-end electronics, there are fewer top-flight line preamplifiers than any other product category, a fact that reflects just how critical their role is to system performance – and how difficult they are to design. So, when you already build the L1, widely recognised as one of the finest line preamplifiers ever heard, how do you set about improving it? By keeping the recipe and refining the ingredients – something that’s easily said but which has taken all of our accumulated knowledge and experience to achieve. But achieve it we did. The L1 set a new benchmark. The L10 sets an entirely new standard for musical performance. Any line-stage needs to be quiet, transparent and stable. It needs to be seen and not heard – at least until you remove it from your system. Then you should hear exactly what it brings to the party! It must anchor the incoming signals and deliver them onwards, propelled from a firm footing that ensures dynamic and musical authority. It must pass the source signals in your system, without limitation or disturbance, leaving no trace of itself on their passage. It must be all powerful but also invisible…
  • The latest introduction to our flagship 10 Series, the P10 phono-stage joins the benchmark L10 and M10 amplifiers, products that have quickly establishhed themselves as an almost universal reference. They followed in the footsteps of our original P1 phono-stage, a unit that has also long been recognised as THE benchmark for phono performance, by reviewers and end-users alike. But as impressive (and impressively versatile) as the P1 undoubtedly is, the P10 represents a whole new level of sophistication and musical reproduction. Adopting the twin-chassis configuration common to all 10 Series products, it also introduces an all-new circuit topology and a host of other practical and performance innovations.
    • Twin-chassis design with massive, dedicated power supply and ultra low noise-floor.
    • All-new circuit with three separate gain stages to reduce noise.
    • Two-stage passive EQ.
    • Four independently configurable XLR/RCA phono inputs.
    • Two trans-impedance current sensing MC inputs.
    • Two conventional, fully discrete, voltage sensing MC/MM inputs.
    • Higher gain and finer gain adjustment, with 3dB steps rather than the 5dB increments found on the P1.
    • The same user selectable local/global feedback setting introduced on the L10.
    • Unprecedented range and precision of loading options on voltage inputs.
    • Seven optional EQ curves for EMI, Columbia (LP), Decca (London), Teldec (DGG), NARTB/NAB, Capitol (AES) and Philips.
    • Improved user interface, including handy IR remote control for all main functions (and switching EQ).
    • Improved cartridge gain/loading wizard to aid set up.
    The P10 might be an analog component, but the numbers tell the tale: a noise floor that’s 5dB lower than the already ghostly quiet P1; 45 to 78dB of gain in 3dB steps (that’s 8dB more than the P1); four independent phono inputs and as many as eight different record replay EQ curves. Throw in the remotely selectable Neumann pole for all EQ curves, local/global feedback, stereo/mono switching and high-pass filter and you have one of the user-friendliest phono-stages available. The display even changes colour to remind you when you have an optional EQ curve engaged.
  • In a few short years, our M1.1 has become a classic, setting the standard in terms of both performance and versatility. So superseding it, establishing a completely new level of musical capability was always going to demand a major effort and a complete re-think, re-examining every part down to component level. The result was a unique new input stage that significantly outperforms existing circuits, all new circuit boards, re-laid to minimise induced noise and distortion and upgraded components throughout the signal path – all contributing to a dramatic increase in low-level resolution, transparency, natural tonality and musical flow. But at the other end of the scale, headroom is a major limitation on amplifier performance. Dynamic swings can test even the M1.1’s generous 200 W/Ch rated output, so for the M10 we didn’t just increase that by 50%, we doubled the power supply capacity too, creating an output stage with massive musical potential. That reservoir of power doesn’t just come into play on musical climaxes. It gives the quietest passages and instruments the same stable clarity and presence you hear in real life, it precisely traces changes in level and musical density, it holds instruments separate but places them precisely within a single space. It recreates the energy and chemistry of the original performance – and when that performance reaches its climax, the M10 reproduces that too. Effortlessly! It’s when you try to put all that musical potential in a box that the physical challenges begin. Power supplies are big – and they’re heavy. Building a single chassis to accommodate the M10 was certainly possible, but the resulting product would have been somewhere between difficult and impossible to move or house. That’s why the M10 amplifier comes in a twin-chassis configuration. Those two outwardly similar boxes are not mono-blocs. Instead they are an amplifier stage and a separate power supply chassis. Even splitting the M10 like this, each box is a two-man lift, although they retain the M1.1’s manageable dimensions and will fit into standard racks.

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