When I reviewed Simaudio's Moon Evolution 880M monoblock amplifier for the June 2013 issue, I communicated via phone and e-mail with the company's VP of marketing, Lionel Goodfield. When the topic of hearing the 880Ms at their best came up, I could almost imagine him shrugging as he said, "Just use it with the most transparent, revealing preamp you can find." Not surprisingly, he then went on to say that Simaudio's own Moon Evolution 850P would serve nicely in that role. My cynical side might normally have discounted any such suggestion from a marketing man, but I'd been hearing the same sort of thing from other sources. And, as it happened, there was an 850P at Stereophile World Headquarters . . .
With the help of 20:20 hindsight, it looks as if I made a decision when I joined Stereophile: to review a loudspeaker from Wilson Audio Specialties every 11 years. In June 1991, I reported on Wilson's WATT 3/Puppy 2 combination, which cost $12,740/pair in an automotive gloss-paint finish. This was followed in July 2002 by my review of the Wilson Sophia ($11,700/pair). And now, in December 2013, I am writing about the Wilson Alexia, which costs a not-inconsiderable $48,500/pair.
High-performance audio has always been and will probably remain a cottage industry perpetuated by talented and visionary individuals whose products reflect their singular visions and whose companies often bear their names, though of course there are notable exceptions. One of them is Constellation Audio. No single star dominates the appropriately named Constellation Audio, which arrived on the scene at the 2010 Consumer Electronics Show with a seemingly impossible debut roster of products: stereo and monoblock amplifiers, preamplifiers, digital file player/DACs, and phono preamplifiers, each category of component represented by members of two distinct lines: no compromise and some compromise.
Volti Audio's Vittora, a borrowed pair of which now sit at the far end of my listening room, is a great loudspeaker and, at $17,500/pair, a seriously great value. After a few weeks with the Vittora, I find myself convinced by the naturalness, momentum, and force that it found in every record I played: This is surely one of the finest horn-loaded speakers made in the US.
Even as the gulf narrows between the sounds of the best solid-state and the best tubed amplifiers, most listeners remain staunch members of one or the other camp. Similarly, when it comes to video displays, the plasma and liquid-crystal technologies each has its partisans, though that conflict's intensity is relatively mild, perhaps because video performance, unlike audio, is based on a mastering standard that establishes color temperature, gray-scale tracking, color points, and the like (I'm deeply in the plasma camp). But in audio, the "standard" is whatever monitoring loudspeaker and sonic balance the mastering engineer prefers, which makes somewhat questionable the pursuit of "sonic accuracy." Still, in a power amplifier, a relative lack of coloration is preferable to amps that Stereophile editor John Atkinson has characterized as "tone controls"usually, if not exclusively, of the tubed variety.
Things didn't start off auspiciously. I'd been after Symphonic Line's Klaus Bunge for more than a year to send me the Kraft 400 Reference monoblocks. Finally he called. He said he was going to be in town for a few days, and he had with him a pair of what he described as his "traveling" Kraft 400s, which he proposed to leave with me.
Designer Dr. Roger West got his first taste of electrostatic transducers many years ago during a stint with Janszen (remember the Janszen tweeter?). To realize the potential of the full-range electrostatic loudspeaker (ESL), he and Dr. Dale Ream formed a new company dedicated to ESL research and development. West describes this company, Sound-Lab Corp., as "the electrostatic speaker specialists."
I had been anticipating getting to audition a pair of TAD loudspeakers in my system since the introduction of the original TAD Model-1, in 2003. It was designed by Andrew Jones, who had recently assumed the mantle of chief designer at Technical Audio Devices Laboratories (TAD), at that time a subsidiary of Pioneer. Although TAD dates back to the mid-1970s, its research and development efforts had been focused on the professional sound market, something that continues. Jones came from a long line of speaker innovators at KEF and was assigned the goal of developing state-of-the-art speakers for the domestic market.
The advertisements run by Colorado manufacturer YG Acoustics in 2008, when it launched its flagship loudspeaker model, the Anat Reference II Professional, unequivocally claimed it to be "The best loudspeaker on Earth. Period." They caused a stir. The YGA speaker cost $107,000/pair at the time of Wes Phillips's review in the March 2009 issue. Wes didn't disagree with the claim, concluding that, "Like my pappy used to say, it ain't braggin' if you can actually do it."
In the September 2005 issue (Vol.28 No.9), I reviewed Simaudio's first reference-quality power amplifier: the 1000W, 220-lb Moon Rock monoblock ($37,000/pair). At the time, the Rock was a dramatic departure for Simaudio, then primarily known as a maker of midpriced gear that was good for the money. I found a lot to like about the Rock, concluding that while it wasn't quite up to the standard of the best superamps of the time, it was very goodand, for Simaudio, an admirable first shot at the state of the art.
In the early 1970s, Stereophile's founder, J. Gordon Holta man I used to describe, with all due respect, as having been clothed by the haberdasher to the homelesssaid that Audio Research's SP-3 tubed preamplifier was "the closest thing available, in fact, to the ideal straight wire with gain" ie, it would amplify the signal without editorializng in any way. Back then, the SP-3 cost $595. Today it would cost around $3500. But TAD's C600 dual-mono, solid-state, balanced preamplifier costs more than 10 times that: $42,000.
In April 1987, Anthony H. Cordesman had mixed feelings about the Mod Squad Passive Line Drive System Control Center. (Read his review here.) Introduced in 1984, the Line Drive offered volume and balance controls, five line-level inputs, and switching and monitoring for two tape decks. You didn't plug it into the wall; it provided no gain. Was it even a proper preamp? (footnote 1)
AHC demurred. "I'm not sure that I'm ready to advise anyone to take the risk of not buying a unit with a top-quality phono stage, no matter how well CD or DAT perform," he concluded, between commenting on Middle East wars.
Branding can be powerfula well-developed brand connotes strong images in the consumer's mind. Apple means ergonomics, elegance, ego. Fremer means analog, exuberance, fastidiousness. Rolex means Swiss-made, precision, expensive. Nagra means Swiss-made, precision, expensive.
The challenge is biblical in character, if not in scope: A half year after railing, in these pages, against our industry's overabundance of products that cost more than $20,000, fate has given me such a thing to review.
It was the strangest thing. In the fall of 2008 I was comparing Ayre Acoustics' then-new KX-R line preamplifier with no preamplifier at allI was feeding the power amplifier directly with the output of the Logitech Transporter D/A processor. (Levels were matched for the comparisons, of course, made possible by the fact that the Transporter has a digital-domain volume control.) Being a rational being, I knew that the active circuitry of a preamplifier, as well as the extra socketry and cables, would be less transparent to the audio signal than a single piece of wire. I wanted to determine by how much the Ayre preamp fell short of that standard.