If you’ve ever had the opportunity to audition Burmester loudspeakers, you know they mate perfectly with the company’s electronics and that, together, they put forward a very dynamic, powerful presentation. And, as founder Dieter Burmester is a bass player in his spare time, his speakers are never lacking in low-frequency authority.

In a fairly good-sized room, pairing the hefty Burmester 911 amplifier (or the larger 909) with Burmester speakers makes for highly engaging listening. But for those of us wanting the Burmester experience in a smaller room, the B10s—which are only about 15 inches tall, 9 inches wide, and 11 inches deep—deliver just that. They fit on a pair of stands; I use sand-filled Sound Anchors in my modest 11-by-13-foot listening room.

This understated-looking pair of two-way speakers is something of a happy accident. Originally designed as personal reference monitors for Dieter’s studio, they became part of the product lineup and they make for an excellent match with Burmester’s smaller 101 integrated amplifier and 102 CD player, which we review here. With an 87-dB sensitivity and 4-ohm nominal sensitivity, the B10s are obviously geared towards Burmester amplification, but they work great in the context of any system, whether tube or solid state.

For initial break-in, I run the B10s for a few days with the Devialet 110 (now upgraded to 120 status) in my second listening room, merely swapping out the Stirling Broadcast 88-B8 speakers (also 87 dB) that have been in for review for some time. This could not have been a more night-and-day difference; it was like going from a mid-1980s Mercedes 300 turbo diesel (the Sterlings) to a current AMG C63 (the Burmesters). There’s more resolution and extension everywhere, and even though these are fairly small speakers, the signature Burmester low-end performance is there in spades.

The Burmester B10s have an MSRP of $9,000, without stands.

Initial Listening

Once settled in, my Devialet/Meridian combination goes out and in comes the Burmester 101/102 combination, which proves very interesting, as this amplifier is Burmester’s foray into class-D design—no doubt as a result of the company’s work on high-end automotive audio systems. For those already familiar with the Burmester house sound, (read: slightly warm for solid state), the 101 does not disappoint; it lacks the slight haziness and harshness normally associated with these designs.

Listening to Thomas Dolby’s “I Scare Myself,” I find that the B10s exhibit excellent pace, keeping the deep bass line firmly anchored in place, as the synthesizers float about the soundstage with plenty of width and depth. Interestingly, the B10s use a dome tweeter where the rest of the Burmester line uses a ribbon/AMT driver. Ribbons in general tend to elicit a polarized response from most music lovers, and reviewer bias admitted, it is not my favorite driver, so I find myself very drawn to the overall sound of the B10s, especially since I have a soft spot for well-designed two-way loudspeakers.

Setup is simple and straightforward. As with any compact high-performance monitor, a pair of rigid stands is a must in order to extract the best possible performance. Burmester does make its own stands, which are more attractive than my Sound Anchors, but the Sound Anchors are very dense stands and so they are a great match for the B10s. Putting the speakers on less-massive stands does, in fact, compromise bass extension and focus, so regardless of which way you go, don’t set these speakers on weak stands or you will be disappointed.

Seat Time

The more time spent with the B10s, the more comfortable I become. Expanding the musical palette reveals no shortcomings, with the only thing missing being the extremely low frequencies of large floorstanding speakers. Yet, taking advantage of the room gain in a small room, the B10s do not disappoint, even when playing tracks from Deadmau5, Pink Floyd and Mickey Hart. Though it might seem counterintuitive with a $9,000 pair of speakers, the B10s deliver more low-end heft with a larger amplifier—in this case, my reference Burmester 911 MK3, which has been in service for some time now.

Listening to the new Black Keys album Turn Blue is much freakier with the added power of the 911 driving the B10s. The fuzzy guitars come alive with more weight, bite and roundness, while the vocals seem more real and full of life. A similar experience is had with Pink Floyd’s classic album Wish You Were Here. The title track comes in with barely a whisper as the acoustic guitar spikes up, standing out clearly in its own acoustic space. The smaller 101 amplifier, though similar tonally to the 911, flattens the leading in and trailing off of sound ever so slightly, though it is still involving and something you wouldn’t notice if you didn’t happen to have a 911 hanging around.

As hinted at earlier, the B10s will work fine with vacuum-tube amplification, suggesting that they have a well-designed crossover network, though you can expect that a slightly softer sound will reflect what comes out. The 35-watt-per-channel Van Alstine Ultravalve renders a very mellow performance, per its character, while the 125-wpc Conrad Johnson LP120SA+ is much more authoritative and incredibly deep. While these comparisons offer different flavors than the Burmester amplification, the experiment is a ton of fun, turning my listening room into a fishbowl full of music—not necessarily real, but highly engaging.

Keeping It Real

The B10s rock with authority and image like crazy, but they do not present an overblown sense of perspective, preserving tone and timbre with acoustic instruments. The Jung Trio’s Dvorak Trio in F Minor Op. 65 quickly demonstrates how well these small monitors keep violin and piano sorted, especially the violin. This masterfully recorded piece is so clean that any hint of harshness in a system will be revealed instantly. The B10s pass this tough test with ease.

The subtle brushwork at the beginning of Thad Jones’ “April in Paris” is equally impressive. As Jones’ smooth horn gently glides into the mix, it’s easy to hear him move ever so slightly across the soundstage, and the B10s nail the subtle phrasing of this jazz master, delivering a very emotional experience.

Chrissie Hynde’s highly processed vibrato in the Pretenders’ self-titled debut is perfectly rendered through the B10s. Each of her breaths on the track “Private Life” comes through the mix with an exciting sense of immediacy. Shelby Lynne’s not bad either, so the audiophile whose taste leans more towards female vocalists will not be disappointed with these speakers.

Going through record after record, I find that the design and meticulous build quality that goes into the B10s (like that of every single Burmester product) is evident. These speakers may look understated and simple, but the musical result is fantastic. A perfect match for an all-Burmester system, the B10s will also mate fantastically well with a non-Burmester system. They may even pull you further into the world of Burmester.

Burmester B10 speakers

MSRP: $9,000 per pair

www.burmester.de

www.rutherfordaudio.com (North American importer)

PERIPHERALS

Just as mega sports cars all offer different approaches to performance, giving the Aston Martin driver a completely different experience than the Ferrari, Porsche or Corvette driver, so do mega power amplifiers.  I’ve spent a lot of time these last few months with some of the world’s top amplifiers and it’s amazing how different from one another they sound.  But each amp, in its own way, defines state-of-the-art audio performance.

Burmester’s smaller 911 MK3 has been a reference amplifier here for almost four years.  Surviving a fall from the FedEx truck in the middle of a busy intersection, the 911 has played nonstop for the duration, rarely being powered down, always providing fantastic performance.

But even considering the 911’s prowess as an amplifier, more power changes the game.  Beyond the obvious ability of bigger amplifiers to achieve higher sound-pressure levels, they also offer more control at all power levels.  Most, if not all, speakers present a treacherous load to an amplifier’s output terminals, changing impedance with frequency and generating back EMF—some speakers are even highly capacitive to boot.  The dynamic load a speaker presents does not adversely affect a massive amplifier like the 909 MK5, with substantial power reserves and a high-damping factor, in the same way it does a small amplifier.  The end result?  A spacious sound, free of fatigue.

Big Power, Big Price Tag

Merely swapping out the 911 for the 909 provides an immediately noticeable and revelatory improvement—which it should for $73,495.  The German Physiks speakers I’ve been auditioning for the last month appear to grow in stature, feeling like someone snuck in overnight and moved them about 4 feet farther apart; the effect is not at all subtle.  And that’s starting with the amazing Burmester 911 as a baseline!  The instant Alex Van Halen’s drum stick hits the opening cymbal in “You’re No Good,” there’s more decay, more weight and more meat on the bone.  Right from the first power cord, the guitar has a much fatter sound, feeling more like a wall of amplifiers at a live performance, with a feeling of unlimited power.

The bass line underneath Radiohead’s “In Limbo” not only has more texture, but there’s also more space between everything—said bass line, the ethereal guitars, keyboards and dreamy, over-processed vocals.  This tune can sound compressed, as if the musicians are too close together and crowded, but the 909 opens it right up, giving the music room to breathe and keeping the pace of the rhythm section solidly anchored while everything else floats around the room.

Burmester’s 911 MK3 produces 350 watts per channel into 4 ohms; the 909 MK5 pumps out 600 watts per channel.  With 20 precision-matched outputs per channel and an enormous 3.5-kV power transformer, the 909 doesn’t have much empty space inside its mammoth enclosure, which measures 19 by 19 by 20 inches and weighs in at 170 pounds.  Fortunately, it comes in a padded road case with wheels—another sign of the care that goes into its production.  It’s worth noting that all Burmester power amplifiers are burned in at full power for seven days continuously before they are released to customers.  Though Burmester suggests that the 909 sounds its best after 200 hours, it’s damn good straight out of the (aluminum) box.  Those with tough to drive speakers take note: the 909 mk.5 will produce 1250 watts per channel into a 1 ohm load – indefinitely.  I needed one of these back when I had Apogee Scintillas!

The Loud and Quiet of it All

Playing Rachel Macfarlane’s Hayley Sings through the 909 MK5 provides a perfect example of the silky smoothness that the amp presents.  It’s not all about brute force.  Backed by a Sinatra-esque big band, her lead vocals deliver a strong timbre that the 909 effortlessly renders.  As her voice goes quickly from loud to soft, it never gets lost in the blaze of horns accompanying her.  Equally delicate is the opening bass line in Rage Against the Machine’s “Calm Like a Bomb.”  The 909 captures every bit of texture, until the song goes full tilt, with distorted guitars bombarding the listener from every angle. Again, this monster amplifier handles it all in perfect stride.

Switching speakers to the GamuT S9s and giving the volume control a twist towards the maximum, on Fear’s “New York’s Alright if You Like Saxophones,” sheds new light on this classic punk cut.  The 909 provides an otherworldly, out-of-body experience, transporting me right back to when I followed the band in 1981.  It’s as if the 909 reproduces the sound and the sweat.  There’s an extra dimension at work here.

With the volume up to brain-damage levels, it just wouldn’t be a proper Burmester review without a few Scorpions tracks, so out comes the 45-rpm maxi singles.  Tracking through “Rock You Like a Hurricane” has those present for the audition reaching for lighters and brings the police to our front door—the ultimate testament to the 909’s brute force.

Those of you in the audience who are more proper audiophiles will be pleased to know that the 909 MK5 does a smashing job on your favorite acoustic tracks, female vocal pieces and, of course, large-scale orchestral recordings.  The cannon shots at the end of 1812 Overture really come to life with this much power on tap, and if that’s not enough, you can bridge the 909 to produce a monoblock capable of 1,930 watts per channel.  You’ll probably need an electrical-supply upgrade to a pair of 20-amp dedicated lines; Burmester makes note that your power must be up to the task in order to achieve this high output.  Bridging can be done via external adaptors, as with the 911, or your 909s can be ordered directly from the factory this way.

Unshakable

While it’s just so much fun to explore an amplifier that has no real dynamic limits (at least in the context of my room and system), the true magic of Burmester’s power amplifier is twofold:  It has an almost silky sonic texture that is unique, nestled right between the “just-the-facts” sonic signature of the Boulder 3050 or the Simaudio MOON 880M, as well as the slightly warm and inviting, almost tube-like sound of the Pass XA200.5.  Heavily biased, but not fully Class A, the 909 generates precious little heat, even after a long listening session.

Anyone attending Burmester’s after-hours party at last year’s New York Hi-Fi Show witnessed a pair of these mighty amplifiers playing to a crowded room that was easily the size of a small club with a 30-foot ceiling.  By the end of the night, the 909s remained barely warm to the touch, and were not damaged by the DJ plugging and unplugging things with the volume turned up, making a hateful sound through the enormous Burmester speakers in the process.

Exquisite Build

This brute force is packaged in a stunning box.  From the extrusions on its heat sinks, to its subtle bits of chrome plating, to the Burmester logo machined in script on its top cover, the 909 goes to show that no one produces better casework than Burmester.  I spend a lot of time removing the last few dust specs in post-production and can’t help but be blown away with the quality work of Burmester’s machine shop.  Even with the images blown up 1000 percent on screen, there are no machining, engraving or plating flaws to be seen anywhere.

This is truly a luxury product that delivers the goods sonically and is also a joy to look at, even when turned off.  The 909 MK5 is built to a standard that should allow you to leave it for the next generation—a true value in a society where so many products are easily discarded.

The back panel has two large carrying handles, and the speaker binding posts have large winged knobs, making it easy to attach any type of speaker cable you might be considering.  Even though there are banana plugs in these gigantic twist terminals, Dieter Burmester himself suggests spade-lug termination on your speaker cables for the best connection and transference of such high power.

The only problem with the Burmester 909 MK5 is that once you have the experience, it’s tough to go back.  As we spend more time with this remarkable amplifier, we will do a proper head-to-head comparison between it and the 911 MK3 with a wide range of program material, and will report back in the Comparo section of our website, so please check back shortly.

For now, suffice it to say the Burmester 909 MK5 will handle any challenge.

The Burmester 909 MK5 power amplifier

MSRP:  $73,495

www.burmester.de (factory)

www.rutherfordaudio.com (North American Distributor)

Peripherals

I’ve probably listened to a thousand amplifiers in the past 25 years and have easily owned at least 75-100 in search for the perfect balance of tonality, dynamics and reliability.  Proponents of every different amplifier topology have their reasons why their pet choice is “the best,” forsaking all others in the process. But the main argument usually comes down to the tube camp vs.  the solid-state camp.

While I’ve always loved vacuum tubes, I have different requirements than the average listener who may only turn on his or her system for a few hours a week.  With a reference system that is usually playing at least 12 hours a day, the tube game can get tiring in a hurry, especially when you’ve chased down some unobtanium tubes for your pride and joy.

If you’ve fallen under the spell of a great vacuum-tube power amplifier, it’s hard to wipe the experience out of your memory bank; that tonal delicacy and three-dimensional, airy presentation is indeed seductive.  It’s the same for the best examples of the solid-state camp with bottomless dynamics, weight and bass grip that you can’t get on the other side of the fence.

I’m happy to report that you can have it all in one box: the Burmester 911 mk.3.  It’s not inexpensive.  Current MSRP on a 911 mk.3 is $29,995.  If you’re anything like me, you’ve already thrown half of that price tag away over the past 10 years, swapping amplifiers in and out of your system.  A couple of thousand here, another thousand there, and pretty soon you’ve flushed a year’s worth of your kids’ college tuition down the drain. And you’re still not quite happy.  I know that feeling all too well, and I’m right there with you.

Sixty seconds to music

The 911 mk.3 couldn’t be easier to set up.  This 90-pound amplifier is covered with heatsinks on all four sides, so don’t play catch with it.  The powder-coated silver aluminum case has a pair of handles on the rear panel that makes it easy to move into place on your rack of choice.

There is a pair of balanced XLR inputs, a 15-amp IEC socket for the power cord of your choice and binding posts with gigantic plastic wing nuts that make it a snap to attach the beefiest speaker cables you can imagine.  A pair of 12-volt trigger outlets is provided to allow the 911 mk.3 to be turned on from your preamp, if it is so equipped.  I’ve never shut off the 911 mk.3 since it’s been here, so while handy, it’s not been necessary.  The front panel has a single power switch with power-on and standby LED’s.  Plug it in, turn it on and enjoy.

Built to take it

Much like the black Porsche 911 turbo in Bad Boys, the Burmester 911 mk. 3 crashed into my life.  While awaiting the delivery of the 911 and the companion Burmester 011 preamplifier, I received a phone call.  “Is this TONEAudio Magazine?”  “Yes…” “Great, I have a damaged palette that I found in the middle of the street with your companies’ name on what’s left of the label.  Give me your address and I’ll be right over.”

At this moment I was horrified that the 911mk.3 and the 011 were destroyed and my relationship with Burmester was not getting off to a great start.  Twenty minutes later, a very nice man from Northwest Gas arrived with a palette in the back of his pickup truck that looked as if it had been dropped out of an airplane.

Upon inspection, the 011 was without a scratch and the 911 mk.3 only had a slight dent in the left corner of the top faceplate.  Nothing sounded loose internally, and upon plugging them both in, they worked perfectly!  When I told Burmester’s Robb Neiman about my experience, he said “Oh yeah, we had a pair of our speakers get dropped out of the cargo plane at CEDIA this year.  They fell 30 feet and only had a tiny scratch.  They played fine.”  If this doesn’t speak volumes about the rock-solid build quality of Burmester, take a peek inside the chassis where everything is massively built and tidily tucked in place.

The essence of musicality

During the past six months, I’ve had the opportunity to use the 911 mk.3 with about 20 different pairs of speakers, all with excellent results. But the bulk of the review listening was done with the Verity Audio Sarastro II, the MartinLogan CLX, the GamuT S-7 and recently the YG Acoustics Anat II Studio.  All world-class speakers in their own right and all of them have given their best performance with the 911 mk.3.

I’ve also had about 20 amplifiers come through my listening room, either for review by me or on their way to someone else on the TONEAudio staff.  All great amplifiers to be sure, but every time I put the 911 mk.3 back in the system, I always felt like I was back home.

The best way to describe the 911 mk.3 (and for that matter all the Burmester electronics I’ve heard) is complete neutrality and complete lack of grain.  As I’ve mentioned in the 082 integrated review, everyone who has heard the 911 mk.3 always makes the comment that it does not sound like solid-state amplification, nor does it sound like tubes.  I’ve never heard an amplifier that does a better job of getting out of the way of the music than the 911 mk.3.

The bass is powerful and articulate, the mids seamless and smooth, and the highs are extended, not harsh, grainy nor forced in any way.  When working on a review of the vintage Mark Levinson no.23, it reminded me of how that amplifier had a midrange that was pushed slightly forward.  A few other solid-state amplifiers exhibited an artificial quality to the midrange or high frequencies that always left me thinking “pretty good for solid-state.”  This thought never went through my head while listening to the Burmester amplifier.

Three of my favorite large solid-state power amplifiers – the CJ Premier 350 (my previous reference for almost five years), the McIntosh MC1.2KW monoblocks and the SimAudio Moon W-7 monoblocks – each have more power than the 911 mk.3. But at the end of the day, none had the complete neutrality, lack of grain and smoothness that the Burmester has.

When playing my MartinLogan CLX’s at insane levels, I found my self wishing for a touch more power, but that was really pushing it.  Should you find yourself at that point, you can use the 911mk.3 as a mono amplifier and just add a second one.  I experienced a very similar CLX-based system that used a pair of 911’s, and that was the ticket for those who need the ultimate push over the cliff. Or perhaps the top-of-the-line 909 power amplifier …

Richly detailed

Dynamics are big fun, and so is bass grip and slam; that’s what large solid-state power amplifiers are famous for.  What continues to hold my interest so strongly after six months with the 911 mk.3 is the way this amplifier continues to unravel records I’ve been listening to my whole life on a countless variety of systems.

Even with records that aren’t known for killer sonics.  One day while stuck in an early 70’s groove, I was listening to Three Dog Night’s Seven Separate Fools CD and noticed a few layers of violins and mellotron that I’ve never heard on “Pieces of April.”  Sure, that’s a crazy music choice, but the point is that while the 911 mk.3 is an extremely high-resolution component, it is not one that sacrifices musicality for ultra detail, it blends both.  My favorite aspect of the Burmester gear is that it does not transform your system into something that you can only listen to a limited number of “audiophile approved” pressings. It brings more enjoyment to your entire music collection.

Same thing with DEVO’s Q: Are We Not Men?, A: We Are DEVO? While evaluating the original to the current remaster, this record took on a whole new dimension, with the soundstage expanding in all three dimensions.  Fast forward to current releases, “Adrien” on Peter Kruder’s (of Kruder and Dorfmeister fame) new disc, Private Collection, starts with chimes that just float slightly to the left of the soundstage, but the echoes travel all the way right and sound as if they trail off behind the listening chair.  Indeed, very trippy.

Another favorite disc that features very densely packed music is The Word is Out, by Jaco Pastorius and his Big Band.  This is a killer fusion album that has a great mix of acoustic and electronic instruments with a lot going on simultaneously.  Even at high volume, Pastorius maintains his space just slightly left of center without his bass line becoming flabby, with the drums miked somewhat behind the plane of the speakers, while the horns float in front of the mix, going all the way from left to right.

While at times almost impossible to describe, the 911 mk.3 is very linear in its performance, regardless of where you have the volume control set, until you push it so far that the soundstage flattens out, ever so slightly.  Even at this point, I wasn’t hearing any harshness or clipping.  Though the 911 mk. 3 is claimed to be heavily biased into class-A operation, it didn’t get overly warm during normal listening, and no matter how hard I pushed it, would not shut down.

I continue to draw the same conclusion with the 911 mk. 3. It has a huge, three-dimensional soundstage that I would normally associate with tubes, with the pace and drive I would normally associate with solid state, yet the weaknesses of neither.

As good as it gets

After six months of listening day in and day out, I can find no fault with the Burmester 911 mk.3 and am happy to say that this will become my new reference amplifier.  It was dropped off of a truck on its way to me and I’ve often played it continuously for 24 hours day after day when breaking in new speakers, and it’s never let me down in any way.

The 911 mk. 3 offers perfect balance in my book; it is highly detailed and articulate, yet not harsh, and it is tremendously musical without being dark or rolled off in any way.  This is truly the best power amplifier I have ever experienced.  I can’t recommend it highly enough.

The Burmester 911 mk. 3 Power Amplifier

MSRP:  $29,995

www.burmester.de

Peripherals

Comparing my Burmester 011 preamplifier to the company’s new 088 preamplifier reminded me of two other German high-performance machines I’ve sampled: Audi’s 430hp eight-cylinder R8 and its new 525hp 10-cylinder model. Both cars are outstanding and from the outside, look virtually indistinguishable. Much as you want to convince yourself that 430hp is enough, all it takes is a quick spin around the block and suddenly, you can’t live without the extra performance. The Burmester 088 is equally exciting—the minute you hear it, your perception is similarly altered.

The 088 is the latest edition to Burmester’s Top Line of electronics. While the latter is one level beneath its Reference Line, everyone that doesn’t hold an American Express Black Card can safely consider it reference gear. The $28,995 088 arrives with either a DAC module or a phono preamplifier stage installed. Our review sample came fitted with the DAC, the very same upsampling module fitted to the Reference Line 077 preamplifier. Interestingly, when connected to my MacBook Pro, system settings in the control panel displayed “Burmester 077.”

At first glance, the 088 looks identical to the 011, with the input selector on the left and volume control on the right. The current preamplifier allows more set-up capabilities on the front panel, as well as switching between SPDIF and USB digital inputs. For listeners that don’t need an onboard DAC or phonostage, the 088 can be configured with an additional unbalanced (RCA) high-level input. At press time, pricing was not available for this configuration.

If you’ve never had the Burmester experience, know that the company’s products are electrically and mechanically built to an incredibly high standard. Front panels are machined to a “jewlers finish” and are of the finest quality we’ve ever experienced. Even when photos of Burmester’s metalwork get zoomed to 400% on a 30” Apple Cinema Display, it appears completely smooth. It’s like chrome-plated glass. If you are even the slightest bit obsessive compulsive, chances are you’ll be using the remote to keep the chrome free of fingerprints—even though it’s easy to clean.

Fortunately, the sound is as exquisite as the casework. The new 088 represents a significant step up from the 011 preamplifier it will replace. (For now, the 011 remains in the Burmester lineup but will disappear in the near future.) While the 088 incorporates a number of evolutionary changes, the biggest difference relates to the incorporation of Burmester’s latest X-Amp 2 gain modules. The latter are used in all of the Reference Line components, as well as the 100 Phono Preamplifier that we recently reviewed. Note: These modules are hand-built with matched discrete components throughout; no op amps are used in the amplification chain.

System Compatibilities

While older preamplifiers like the 011 boast a few unbalanced inputs and a pair of unbalanced variable outputs, the 088 is balanced throughout and utilizes XLR inputs and outputs. This may prove inconvenient for some. Unless you have a studio tape recorder, the tape outputs will require an XLR to RCA adaptor, easily sourced from your Burmester dealer.

The XLR pin out is also different on Burmester gear. Almost every other hi-fi manufacturer follows a standard formula in which pin number one is the ground (as it is in pro audio gear), pin two positive, and pin three negative. Burmester is just the opposite, with pin two being negative. If you mate Burmester gear with other manufacturers’ components, doing so requires a special XLR adaptor, custom cables, or switching your speaker leads from positive to negative to make up for the phase difference between components. Intuitively, the 088 has a phase switch on the front panel. So, when using the ARC REF 2 phono preamplifier, a flick of the switch achieved absolute phase throughout the system.

The 088 offers five balanced inputs and, for those wishing to integrate the 088 in a multichannel system, a surround pass through. A single set of variable level XLR outputs is the only shortcoming. Anyone with a powered subwoofer will have to resort to some kind of “Y” adaptor or purchase different speakers. Hopefully, this limitation will be remedied once a mark II version of the 088 becomes available.

Illusion Nears Closer to Reality

Having lived with the 011 preamplifier and 911 Mk.3 power amplifier for the past two years, the combination’s natural sound became burned into my memory. But after the 088 was powered up for two days and fully stabilized, the difference was immediately noticeable—and all for the better. From its entry-level Rondo Line up to the Reference Line, all Burmester gear has a similar tonality. Still, a higher level of performance exists in four specific areas: increased dynamics, added bass weight, lower noise floor, and greater overall resolution.

With the 088 as quiet—if not more so—as the 011, the unit’s increased dynamic impact revealed itself on “Take It So Hard,” the first track off Keith Richards and the X-Pensive Winos’ Live at the Hollywood Palladium. Decidedly not a record with an audiophile pedigree, the drums are nevertheless miked incredibly well, something I noticed on a recent jaunt in editor Bob Gendron’s car. I also forgot how much fun this record can be. Through the 088, the drums exploded out of my speakers. By comparison, they were noticeably more subdued when I returned to the 011.

Bass detail also stood out from the 011, with the 088 claiming more weight and control. Rock, jazz, and classical music all equally benefited. After queuing up Kanye West’s recent My Twisted Dark Fantasy, the title track’s beats went straight to the gut in a way they never did before. On first listen, even with the 011, West’s album felt fairly dense. Yet the 088 unraveled the layers of texture with fantastic results. This upshot remained consistent with everything auditioned. Moderately dense and compressed recordings sounded more open than I could’ve imagined, and great recordings became sublime.

In projecting an expansive soundstage well beyond the boundaries of the GamuT S9s, the 088 helped the six-foot-tall speakers disappear, as if they were a pair of mini monitors. With such depth, there’s just no need for surround sound! And honestly, there’s no need for vacuum tubes, either.

Burmester’s new preamplifier throws a larger soundstage in all dimensions than any tube preamplifier I’ve tried. If you want enormous, reach-out-and-touch-it sound and do not want to worry about hand-matching expensive NOS tubes, the 088 will painlessly take you there. After living with the 088, it’s tough to believe that it’s “only” Burmester’s Top Line preamplifier, as yet another level of greatness is available in its Reference Line.  (However, moving up requires spending more than double the cost of the 088.)

Resolving low-level detail and texture constitute the most interesting aspects of the 088’s incredible performance. A few of my favorite vocal records instantly brought such traits home. Regardless of playback volume, my system achieved a new level of overall clarity. Digital now sounded almost as grain-free as analog did with the 011. And the analog presentation? Delicious. Spinning Mobile Fidelity’s reissue of Frank Sinatra’s Nice ‘N’ Easy clearly illustrated the 088’s marvelous capability, as it not only succinctly defined the room size, but perfectly reproduced the illusion of height—putting Sinatra front and center with his voice where it would be if he were standing eight feet from my listening position. Such an accomplishment is rarely be achieved when playing music back through electronics, yet the 088/911 combination achieved it with ease.

I’ve never heard Sinatra live, but I have had the privilege of hearing the Fleet Foxes up close and personal. On the 088, the group’s “Tiger Mountain Peasant Song” possessed sizeable body and depth. At this point, the illusion neared much closer to reality. Even after full-day listening sessions, the 088 never ceased to amaze, especially with records often as test tracks, regardless of resolution. Even Rhapsody tracks were more palatable to the senses.

A Capable DAC

The 088’s internal DAC is an upsampling 24 bit/192khz design that upsamples all incoming data to 24/192. While some may shy away from this approach on principal, Burmester’s implementation is one of the most transparent I’ve experienced.

Feeding the DAC section with both the Sooloos via SPDIF and a current iMac running Pure Music nearly finished in a dead heat, with a slight nod to the SPDIF input in terms of overall musicality with 16 bit/44.1khz tracks. When I switched to high-resolution files, the USB input fared better.

The Simaudio 750D ($12,000) and Burmester 089 ($28,995), along with the four-box dCS Paganini ($55,900), offered higher performance than the onboard DAC. Nonetheless, the 088’s digital capabilities should be a great addition for anyone getting started with computer audio. It provides performance that’s on par with the best DACs I’ve heard in the $4,000 – $5,000 range. (And remember, there’s no power cord or interconnects to buy.) It could also prove excellent for vinyl listeners that only occasionally listen to digital. Those that listen to analog and digital with equal enthusiasm will be best served with an outboard albeit higher-performance DAC; Burmester’s 089 is the obvious choice.

A Destination, Not a Journey

While the Burmester 088 preamplifier costs nearly a third more than the 011, the model it’s replacing, the unit is definitely worth the price. Sure, $30k is a healthy sum to pay for a single component, but this is a hand-built, high-performance preamplifier with performance equaled by few preamplifiers at any price.

Because it’s massively overbuilt, the 088 should be a destination that you will never leave. To those always in the hunt for the latest thing, be forewarned: Refrain from trading it in before you’ve really had the chance to realize what the 088 can do. Should you be a music lover that wants to cease the tiring practice of upgrading and simply enjoy nirvana for a very long time, the 088 has the potential to become a family heirloom.

Burmester 088 Preamplifier

MSRP: $28,995

www.burmester.de (factory)

www.burmester-northamerica.com (US and Canada)

Peripherals

It’s been a long time since Burmester has produced a phono stage.

Their last model, the 838, was produced in the 80’s.  However, with vinyl making such a comeback, Dieter Burmester felt the time was right to build a phono stage that was worthy of his current Reference Line components.  And in typical Burmester fashion, it addresses every aspect of the analog domain – it can even be ordered with a studio quality ADC (analog to digital converter) on board, so that any vinyl enthusiast migrating to the high quality digital world has all of their bases covered.

Occupying the same amount of rack space as my reference Burmester 011 preamplifier, the sleek casework and mirror finished front panel makes for a perfect aesthetic match. When viewed under studio conditions on a bright white background, you might think the Burmester gear “too shiny,” but when it is in place in your listening room, it mirrors your environment and disappears – a pleasing aesthetic illusion.

Your final configuration determines the price: The 100 Phono outfitted with two phono preamp modules, (sans the ADC and Burmester’s Burlink interface card) has an MSRP of $22,995.  The base model with one phono card and no ADC or Burlink specs out at $16,995. This probably isn’t going to be your first phono stage, but it could very well be  the last one you will need to purchase – thanks both to Burmester’s legendary build quality and their commitment to product upgrades.  Like other products in the Burmester range, the 100 will never become obsolete.  Think of it as an investment in your vinyl future.

Ultimate flexibility

The 100 can be configured to your specification with your choice of one or two inputs.  Either input can be designated as MM (moving magnet) or MC (moving coil), but once the choice has been made, the 100 must be sent back to your dealer for one of the inputs to be changed.  The MM gain can be adjusted in six steps from 37 db to 52 db and the MC stage (also six steps) from 57 db to 73 db, so even the lowest output cartridges can be accommodated.   Capacitance can be adjusted on the MM side from 68 pf to 400 pf and MC input loading has six options:  33, 75, 220, 390, 1000 and 47k ohms.  MC purists may be put off at the odd choices, but I had no problem using cartridges that I would normally load at 100 ohms with the 75-ohm setting or the 390-ohm setting for cartridges that I would use 500 ohms on another phono preamplifier.

The subsonic filter worked well with a few older, more warped records that have not had a session with the Furutech flattener yet and I was unable to hear any difference in low frequency output.  If the wide range of gain settings still isn’t enough, the 100 has the ability to boost the output by an additional 6db, so there should never be a situation where the 100 Phono does not possess enough gain.

Burmester’s “auto adjust” feature, when used with the supplied test record, will make up for channel imbalance in your phono cartridge. It compares the left and right channel signals, adjusting the level between channels to .2db, able to make the compensation up to 6db, though I can’t imagine a premium phono cartridge having this much channel error.  The only thing missing is a mono switch.

Setup

The Model 100 sounded slightly flat out of the box compared to my other Burmester components that have been powered up for over a year now, but because there are no capacitors in the signal path, there is no long drawn out break in with this preamplifier.  It opens up dramatically after a few days of constant play, and after it’s been on for about a week, you’re 100% there.  If you don’t have 12 hours a day to spin records, I highly suggest a Hagerman Technologies Reverse-RIAA between your CD player and the 100.  Leave it on repeat 24 hours a day for a few days to speed up the process. If you are one of the audiophiles that pooh-poohs component break in/stabilization, play your favorite record on the 100 straight out of the box and then again after a few days of burn in and you will be stunned at the improvement.

All controls are easily available on the front panel and clearly marked, so finding the proper loading and gain settings for your cartridge couldn’t be easier.  If you have multiple turntable/cartridge owners will be instantly at ease with this flexibility that few other phono stages match.

For those incorporating the 100 into a non-Burmester system, there is a phase reversal switch that works with the RCA outputs as well as the balanced XLR outputs.  This is particularly important because Burmester uses pin 3 for signal positive and 2 negative, while most other manufacturers do just the opposite.  A quick flip of the switch keeps everything in phase.

Burmester feels that keeping the signal path balanced all the way through, so the 100 only has balanced inputs.  This will require cable retermination or using the supplied XLR to RCA adaptors.  Considering the additional benefit to running a phono cartridge balanced, I would highly suggest having your tonearm cable terminated for balanced operation.  I used a Cardas Clear Phono cable and the Burmester Silver Balanced Phono Cable ($1,595) The Burmester cable was perhaps a bit too revealing for my taste, but again like any other cable, this is a tone control that needs to be fitted to your taste.

The Sound

Having used Burmester amplification as my reference for almost two years now, I’ve become very familiar with the “Burmester sound” or perhaps lack of it.  A year ago, I proclaimed the 911 mk. 3 power amplifier “The best power amplifier I’ve ever heard” and I still feel that way.  Dieter Burmester has managed to design and build electronics that bridges the gap between solid-state and vacuum tubes, offering the known advantages of both with the disadvantages of neither.

Burmester electronics have always offered a tonal richness that is usually associated with vacuum tubes, yet has an equal helping of dynamic contrast and weight that normally can only be achieved with the best solid-state gear.  If you are an analog lover, it’s much like the difference between hearing a master tape and a great pressing of your favorite record – the tonality has not been altered, but there is an ease, an extra level of naturalness that the record doesn’t have. If you haven’t heard the master tape you don’t know what you are missing, yet once you have, the difference is easy to discern. This is the ease in which Burmester electronics present the music.

Listening to the current Chris Bellman remaster of Van Halen II brought the first major strength of the model 100 to the front – impact.  This recording now has a lot more punch, and some serious low-end energy and the model 100 was able to capture every bit of Eddie Van Halen’s guitar harmonics.   It was also much easier to hear the differences between Eddie Van Halen and Michael Anthony singing harmonies on “Women In Love.”  Most excellent.

Classical and ambient music lovers will appreciate the subtlety of the subsonic filter.  When auditioning the vinyl edition of Brian Eno’s Small Craft on a Milk Sea, which features incredibly low synthesizer tones, I was able to play this record considerably louder than I could with the subsonic filter out – yet it never felt like there was any less bass energy on the record.  Granted, this is something you probably won’t need often, but a nice feature to have available. In combination with the GamuT S9 speakers and a pair of Burmester 911 mk. 3 amplifiers, I was able to achieve sound pressure levels that you would expect to hear in a club without strain – and without a touch of acoustic feedback.

High frequencies – sublime.  Again, when listening to your favorite acoustic music, the speakers just melt into the room and allow you to forget about the gear.  Spinning at least half a dozen of the latest Blue Note remasters from Music Matters Jazz I was always taken back at how natural cymbals and drum heads were sounding; always with perfect attack and smooth decay.  The true sign of an exceptional piece of gear, the 100 did not favor any particular type of music.

A few things always stand out with the Burmester experience beyond perfect tonality; ultra low noise, massive weight and lightning quick dynamics.  The 100 stays true to the rest of my Burmester gear.  Spinning the latest ORG pressing of Joni Mitchell’s The Hissing of Summer Lawns and their latest remake of Tom Petty’s Damn the Torpedoes revealed even more detail than I was used to with these two perfect pressings. This ultra quiet background always made for huge dynamic swings on records that had the scale, but also revealed a stunning amount of low-level detail as well. The 100 is one of those rare additions to your system that will offer a further look into recordings you thought you knew intimately.

This realism is further enhanced by the 100’s ability to start and stop instantly.  It exhibits lightning fast response during the attack phase of a musical transient, but exhibits no overhang, stopping instantly as well.  This contributes to the 100’s complete lack of fatigue when listening for long periods of time.

A few quick comparisons

To keep the playing field level, I captured some tracks at 24/192 files with my Nagra LB pro digital recorder, as I do with the other phono stages I’ve used in the last year.  This offered an  for an indirect comparison to the ARC REF Phono 2 and the Boulder 1008 to the 100 Phono.  While this does not reveal 100% of what each of the respective phono stages can do, it’s a great way to compare phono stages past, without relying on memory alone.  When comparing the high res digital samples of Hissing of Summer Lawns, it confirmed what I suspected: The Boulder offered slightly more bass grunt, and my ARC REF Phono 2 had slightly less than the Burmester. When comparing the REF to the Burmester in real time, the Burmester was definitely an order of magnitude quieter – quite possibly the quietest I’ve ever heard.

The order was reversed when listening for that image depth; here the vacuum tubes in the ARC offered a bit larger musical image with the 100 seeming to make the room a bit smaller, with the Boulder now in last place. The 100 exceeded the other two in terms of dynamic contrast and the lowest noise floor. Considering adjustability, ease of use and the thought of never having to search for vacuum tubes, makes the 100 the big winner in my book.  Keep in mind that the order of magnitude we are discussing here is very small – indeed much of these differences could be minimized by cartridge choice.

When listening to Andrew Bird’s 2005 release Andrew Bird & The Mysterious Production of Eggs, I was consistently impressed by the low level detail and clarity presented. If you value a wide soundstage where images are painted in a very specific place across that sonic landscape, the Burmester is at the top of this category as well.  While I haven’t had the privilege of listening to all of the top $30k – $60k phono stages yet, the Model 100 is at the top of my list in regards to everything else I’ve heard in the 10-25k range.  And we still haven’t discussed the ADC…

The deciding factor in choosing the 100 over something else up in the stratosphere of phono stages will boil down to the sound you prefer and synergy with the rest of your components.  Of course if you have an all Burmester system, just write the check, it doesn’t get any better or any easier.

And now for something completely digital

If you’ve been curious about high quality digital capture and are either thinking about digitizing some of your favorite LP’s for a music server or just archival purposes, the extra $2,995 spent on the ADC module is a bargain.  Capturing files via USB and my MacBook Pro was fairly straightforward, (as I’ve been doing my fair share of this with other tools lately) though the instructions are fairly cryptic.  Those completely new to digital capture will probably be lost, so insist that your dealer give you a good run through on this part of the process.

All digital captures taken with the 100 feature 24-bit resolution, with a choice of 48khz, 96khz or 192khz sample rates.  Obviously the 24/192 files were of the highest quality, but the 29/96 files were not far behind and the 48 khz files were probably the most impressive, because they still offered excellent playback.  Even using the Burmester 088 CD player as a DAC, the difference between these and the original vinyl was minimal.

Though my Nagra LB digital recorder is easier to use and more user friendly than the Burmester, the Burmester offers a significant jump in recording quality. If you have ever thought about adding this functionality to your system, the Burmester does a fantastic job. Unfortunately, you will have to transfer your files somewhere and transcode to 16/44.1, should you want to burn any of these digital files to a CD.  Again, I would have liked to see this as an option in the ADC, so as to not have to perform yet another option in the digital domain.

Conclusion

If you only require one phono input and do not possess an all Burmester system, the 100 Phono is probably a bit on the high side of the price spectrum, but it becomes more reasonable (at least as reasonable as a $20,000 + phono stage can be…) as you add the second input and even more so if you make the ADC part of the bargain.

Nervous audiophiles that swap gear gear fairly often may not appreciate what makes the Burmester components such a great long-term value.  They are built with the precision of a Porsche engine and placed inside casework that is fitting of the best Swiss watches.  If you are someone that desires high quality audio equipment that you will live with for years to come, the Burmester 100 Phono will sound as great in 20 years as it does today.  And that, on many levels is its highest value.

The Burmester 100 Phono

MSRP:  $16,995 – $22,995 (depending on configuration)

Manufacturers Information:  www.burmester.de

Peripherals

Turntables                        Spiral Groove SG-2 w/Triplanar, AVID Acutus Reference SP w/SME V, AVID Volvere SP w/SME 309 and Rega P9/RB1000

Cartridges                        Dynavector XV-1s, Koetsu Urushi Blue, Grado Statement 1, Lyra Skala, SoundSmith Sussurro Paua

Preamplifier                      Burmester 011, McIntosh C500

Amplifiers                      Burmester 911mk. 3 monoblocks, McIntosh MC 1.2kw monoblocks

Speakers                         GamuT S9

It’s been a long time since Burmester has produced a phono stage.  Their last model, the 838, was produced in the 80’s.  However, with vinyl making such a comeback, Dieter Burmester felt the time was right to build a phono stage that was worthy of his current Reference Line components.  And in typical Burmester fashion, it addresses every aspect of the analog domain – it can even be ordered with a studio quality ADC (analog to digital converter) on board, so that any vinyl enthusiast migrating to the high quality digital world has all of their bases covered.

Occupying the same amount of rack space as my reference Burmester 011 preamplifier, the sleek casework and mirror finished front panel makes for a perfect aesthetic match. When viewed under studio conditions on a bright white background, you might think the Burmester gear “too shiny,” but when it is in place in your listening room, it mirrors your environment and disappears – a pleasing aesthetic illusion.

Your final configuration determines the price: The 100 Phono outfitted with two phono preamp modules, (sans the ADC and Burmester’s Burlink interface card) has an MSRP of $22,995.  The base model with one phono card and no ADC or Burlink specs out at $16,995. This probably isn’t going to be your first phono stage, but it could very well be  the last one you will need to purchase – thanks both to Burmester’s legendary build quality and their commitment to product upgrades.  Like other products in the Burmester range, the 100 will never become obsolete.  Think of it as an investment in your vinyl future.

Ultimate flexibility

The 100 can be configured to your specification with your choice of one or two inputs.  Either input can be designated as MM (moving magnet) or MC (moving coil), but once the choice has been made, the 100 must be sent back to your dealer for one of the inputs to be changed.  The MM gain can be adjusted in six steps from 37 db to 52 db and the MC stage (also six steps) from 57 db to 73 db, so even the lowest output cartridges can be accommodated.   Capacitance can be adjusted on the MM side from 68 pf to 400 pf and MC input loading has six options:  33, 75, 220, 390, 1000 and 47k ohms.  MC purists may be put off at the odd choices, but I had no problem using cartridges that I would normally load at 100 ohms with the 75-ohm setting or the 390-ohm setting for cartridges that I would use 500 ohms on another phono preamplifier.

The subsonic filter worked well with a few older, more warped records that have not had a session with the Furutech flattener yet and I was unable to hear any difference in low frequency output.  If the wide range of gain settings still isn’t enough, the 100 has the ability to boost the output by an additional 6db, so there should never be a situation where the 100 Phono does not possess enough gain.

Burmester’s “auto adjust” feature, when used with the supplied test record, will make up for channel imbalance in your phono cartridge. It compares the left and right channel signals, adjusting the level between channels to .2db, able to make the compensation up to 6db, though I can’t imagine a premium phono cartridge having this much channel error.  The only thing missing is a mono switch.

Setup

The Model 100 sounded slightly flat out of the box compared to my other Burmester components that have been powered up for over a year now, but because there are no capacitors in the signal path, there is no long drawn out break in with this preamplifier.  It opens up dramatically after a few days of constant play, and after it’s been on for about a week, you’re 100% there.  If you don’t have 12 hours a day to spin records, I highly suggest a Hagerman Technologies Reverse-RIAA between your CD player and the 100.  Leave it on repeat 24 hours a day for a few days to speed up the process. If you are one of the audiophiles that pooh-poohs component break in/stabilization, play your favorite record on the 100 straight out of the box and then again after a few days of burn in and you will be stunned at the improvement.

All controls are easily available on the front panel and clearly marked, so finding the proper loading and gain settings for your cartridge couldn’t be easier.  If you have multiple turntable/cartridge owners will be instantly at ease with this flexibility that few other phono stages match.

For those incorporating the 100 into a non-Burmester system, there is a phase reversal switch that works with the RCA outputs as well as the balanced XLR outputs.  This is particularly important because Burmester uses pin 3 for signal positive and 2 negative, while most other manufacturers do just the opposite.  A quick flip of the switch keeps everything in phase.

Burmester feels that keeping the signal path balanced all the way through, so the 100 only has balanced inputs.  This will require cable retermination or using the supplied XLR to RCA adaptors.  Considering the additional benefit to running a phono cartridge balanced, I would highly suggest having your tonearm cable terminated for balanced operation.  I used a Cardas Clear Phono cable and the Burmester Silver Balanced Phono Cable ($1,595) The Burmester cable was perhaps a bit too revealing for my taste, but again like any other cable, this is a tone control that needs to be fitted to your taste.

The Sound

Having used Burmester amplification as my reference for almost two years now, I’ve become very familiar with the “Burmester sound” or perhaps lack of it.  A year ago, I proclaimed the 911 mk. 3 power amplifier “The best power amplifier I’ve ever heard” and I still feel that way.  Dieter Burmester has managed to design and build electronics that bridges the gap between solid-state and vacuum tubes, offering the known advantages of both with the disadvantages of neither.

Burmester electronics have always offered a tonal richness that is usually associated with vacuum tubes, yet has an equal helping of dynamic contrast and weight that normally can only be achieved with the best solid-state gear.  If you are an analog lover, it’s much like the difference between hearing a master tape and a great pressing of your favorite record – the tonality has not been altered, but there is an ease, an extra level of naturalness that the record doesn’t have. If you haven’t heard the master tape you don’t know what you are missing, yet once you have, the difference is easy to discern. This is the ease in which Burmester electronics present the music.

Listening to the current Chris Bellman remaster of Van Halen II brought the first major strength of the model 100 to the front – impact.  This recording now has a lot more punch, and some serious low-end energy and the model 100 was able to capture every bit of Eddie Van Halen’s guitar harmonics.   It was also much easier to hear the differences between Eddie Van Halen and Michael Anthony singing harmonies on “Women In Love.”  Most excellent.

Classical and ambient music lovers will appreciate the subtlety of the subsonic filter.  When auditioning the vinyl edition of Brian Eno’s Small Craft on a Milk Sea, which features incredibly low synthesizer tones, I was able to play this record considerably louder than I could with the subsonic filter out – yet it never felt like there was any less bass energy on the record.  Granted, this is something you probably won’t need often, but a nice feature to have available. In combination with the GamuT S9 speakers and a pair of Burmester 911 mk. 3 amplifiers, I was able to achieve sound pressure levels that you would expect to hear in a club without strain – and without a touch of acoustic feedback.

High frequencies – sublime.  Again, when listening to your favorite acoustic music, the speakers just melt into the room and allow you to forget about the gear.  Spinning at least half a dozen of the latest Blue Note remasters from Music Matters Jazz I was always taken back at how natural cymbals and drum heads were sounding; always with perfect attack and smooth decay.  The true sign of an exceptional piece of gear, the 100 did not favor any particular type of music.

A few things always stand out with the Burmester experience beyond perfect tonality; ultra low noise, massive weight and lightning quick dynamics.  The 100 stays true to the rest of my Burmester gear.  Spinning the latest ORG pressing of Joni Mitchell’s The Hissing of Summer Lawns and their latest remake of Tom Petty’s Damn the Torpedoes revealed even more detail than I was used to with these two perfect pressings. This ultra quiet background always made for huge dynamic swings on records that had the scale, but also revealed a stunning amount of low-level detail as well. The 100 is one of those rare additions to your system that will offer a further look into recordings you thought you knew intimately.

This realism is further enhanced by the 100’s ability to start and stop instantly.  It exhibits lightning fast response during the attack phase of a musical transient, but exhibits no overhang, stopping instantly as well.  This contributes to the 100’s complete lack of fatigue when listening for long periods of time.

A few quick comparisons

To keep the playing field level, I captured some tracks at 24/192 files with my Nagra LB pro digital recorder, as I do with the other phono stages I’ve used in the last year.  This offered an  for an indirect comparison to the ARC REF Phono 2 and the Boulder 1008 to the 100 Phono.  While this does not reveal 100% of what each of the respective phono stages can do, it’s a great way to compare phono stages past, without relying on memory alone.  When comparing the high res digital samples of Hissing of Summer Lawns, it confirmed what I suspected: The Boulder offered slightly more bass grunt, and my ARC REF Phono 2 had slightly less than the Burmester. When comparing the REF to the Burmester in real time, the Burmester was definitely an order of magnitude quieter – quite possibly the quietest I’ve ever heard.

The order was reversed when listening for that image depth; here the vacuum tubes in the ARC offered a bit larger musical image with the 100 seeming to make the room a bit smaller, with the Boulder now in last place. The 100 exceeded the other two in terms of dynamic contrast and the lowest noise floor. Considering adjustability, ease of use and the thought of never having to search for vacuum tubes, makes the 100 the big winner in my book.  Keep in mind that the order of magnitude we are discussing here is very small – indeed much of these differences could be minimized by cartridge choice.

When listening to Andrew Bird’s 2005 release Andrew Bird & The Mysterious Production of Eggs, I was consistently impressed by the low level detail and clarity presented. If you value a wide soundstage where images are painted in a very specific place across that sonic landscape, the Burmester is at the top of this category as well.  While I haven’t had the privilege of listening to all of the top $30k – $60k phono stages yet, the Model 100 is at the top of my list in regards to everything else I’ve heard in the 10-25k range.  And we still haven’t discussed the ADC…

The deciding factor in choosing the 100 over something else up in the stratosphere of phono stages will boil down to the sound you prefer and synergy with the rest of your components.  Of course if you have an all Burmester system, just write the check, it doesn’t get any better or any easier.

And now for something completely digital

If you’ve been curious about high quality digital capture and are either thinking about digitizing some of your favorite LP’s for a music server or just archival purposes, the extra $2,995 spent on the ADC module is a bargain.  Capturing files via USB and my MacBook Pro was fairly straightforward, (as I’ve been doing my fair share of this with other tools lately) though the instructions are fairly cryptic.  Those completely new to digital capture will probably be lost, so insist that your dealer give you a good run through on this part of the process.

All digital captures taken with the 100 feature 24-bit resolution, with a choice of 48khz, 96khz or 192khz sample rates.  Obviously the 24/192 files were of the highest quality, but the 29/96 files were not far behind and the 48 khz files were probably the most impressive, because they still offered excellent playback.  Even using the Burmester 088 CD player as a DAC, the difference between these and the original vinyl was minimal.

Though my Nagra LB digital recorder is easier to use and more user friendly than the Burmester, the Burmester offers a significant jump in recording quality. If you have ever thought about adding this functionality to your system, the Burmester does a fantastic job. Unfortunately, you will have to transfer your files somewhere and transcode to 16/44.1, should you want to burn any of these digital files to a CD.  Again, I would have liked to see this as an option in the ADC, so as to not have to perform yet another option in the digital domain.

Conclusion

If you only require one phono input and do not possess an all Burmester system, the 100 Phono is probably a bit on the high side of the price spectrum, but it becomes more reasonable (at least as reasonable as a $20,000 + phono stage can be…) as you add the second input and even more so if you make the ADC part of the bargain.

Nervous audiophiles that swap gear gear fairly often may not appreciate what makes the Burmester components such a great long-term value.  They are built with the precision of a Porsche engine and placed inside casework that is fitting of the best Swiss watches.  If you are someone that desires high quality audio equipment that you will live with for years to come, the Burmester 100 Phono will sound as great in 20 years as it does today.  And that, on many levels is its highest value.

The Burmester 100 Phono

MSRP:  $16,995 – $22,995 (depending on configuration)

Manufacturers Information:  www.burmester.de

Peripherals

Turntables                        Spiral Groove SG-2 w/Triplanar, AVID Acutus Reference SP w/SME V, AVID Volvere SP w/SME 309 and Rega P9/RB1000

Cartridges                        Dynavector XV-1s, Koetsu Urushi Blue, Grado Statement 1, Lyra Skala, SoundSmith Sussurro Paua

Preamplifier                      Burmester 011, McIntosh C500

Amplifiers                      Burmester 911mk. 3 monoblocks, McIntosh MC 1.2kw monoblocks

Speakers                         GamuT S9