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.
I knew nothing of Ypsilon when I first saw its products in a room at an overseas audio show. Even though the speakers in this system were complete unknowns, I was convinced that it was the electronics that were responsible for the magical balance of what I was hearing. That was confirmed when I reviewed the VPS-100 phono preamplifier in August 2009 and PST-100 Mk.II preamplifier in July 2011.
Though the original Artemis Systems Eos has been around for a few years, it doesn't seem to have made a big impression on audiophiles. Judging by a brief but exciting audition of the new Eos Signature and its accompanying Base Module at HI-FI '96, I found it hard to understand how it could remain such a well-kept secret. A few weeks later, to my surprise, Wes Phillips asked me if I wanted to review a pair and, throwing caution to the winds, I jumped at the opportunity. Rash move.
The movers delivered three large boxes and two absolutely huge crates. Inside the boxes were the two Eos Signatures and their external crossovers. Each crate contained a Base Module, and their appearance struck fear into my heart. I had gone too fareach one weighed 300 lbs, and together they were more commodious than some apartments in my Manhattan neighborhood. I signed for the delivery, then panicked when I realized there was no way to get these unpacked before my wife came home. Indeed, I didn't know how I was going to do it at all.
At the 2012 Consumer Electronics Show, I spoke with Lyra's Jonathan Carr about the Atlas. He told me that, rather than having started as a blank sheet of paper, the Atlas is an outgrowth of the Kleos ($2995), which I reviewed in January 2011, when I thought it Carr's best balanced design yet, even if it didn't have quite the resolution of the Titan i. Like the lower-priced Delos ($1650, reviewed in August 2010), the Kleos included Carr's New Angle technology, which mechanically aligns the coils to be perfectly positioned relative to the front and rear magnets when the stylus is in the groove.
What better way to celebrate the expiration of a noncompetition clause than to debut a product that has no competition? That's what Dan D'Agostino appears to have done with his Momentum monoblock amplifier ($55,000/pair)his first new product since leaving Krell, the company he cofounded more than 30 years ago.
I'm about to out YYves-Bernard André as one of the great unknown tweakers of high-end audio. (My own predilection for stepping into uncharted tweakwaters is well known.) Yves-Bernard, his wife and partner Ariane Moran, and importer/distributor Daniel Jacques of Audio Plus Services seemed perfectly sanguine about letting the cat out of the bag. And why not? In a singular way, the YBA audio solution encompasses both the supertweak and the more-casual-about-equipment music lover.
The YBA CD 1 Blue Laser (or Lecteur CD 1, as it's known at home in France) breaks new ground. It is very French in that it's individualistic in the extreme, and perfectly embodies current thinking chez YBA regarding music playback in the home. Its design dates back to 1991, a point Yves-Bernard takes pains to point out in the manual.
The Wilson Audio Specialties Alexandra XLF costs $200,000/pair. So does a Ferrari. Perhaps if Wilson Audio Specialties sold as many pairs of XLFs as Ferrari sells cars, the price might drop. For now, $200,000 is what you pay.
Can a loudspeaker possibly be worth that much? Add $10,000 for speaker cables, and that's what I paid for my first home in 1992. Today, the average American home costs around $272,000, which is likely less than the cost of an audio system built around a pair of Alexandra XLFs.
Most reviews are straightforward. One preamplifier or power amplifier replaces another. DACs are swapped out. A new pair of speakers takes up residence in the listening room.
But some products demand a complete revision of a system's architecture. Such was the case with Devialet's D-Premier ($15,995). Not only is this French product an integrated amplifier, with phono and line analog inputs; it has digital inputs and an internal D/A section.
Mark Levinson founded Mark Levinson Audio Systems in 1972, but sold it, and the right to market audio gear under his own name, to Madrigal Audio Laboratories, then owned by the late Sandy Berlin, in 1984. Harman International bought Madrigal in 1995. As well as Mark Levinson, Harman's Luxury Audio Group now also includes digital processing pioneer Lexicon, speaker manufacturer Revel, and JBL Synthesis. The Mark Levinson brand is now headquartered in Elkhart, Indiana, at the Crown Audio facility, another Harman-owned brand. The No.53 ($25,000 each; $50,000/pair) is Mark Levinson's first new Reference series monoblock since the No.33, way back in 1993, when Madrigal owned the company. Like other Mark Levinson products, it is manufactured at an independent facility in Massachusetts.
In its comparatively few years in the marketplace, the line-level preamplifier appears to have established commercial parity with its full-function big brother. That this was inevitable was clear as far back as the mid-'80s. The advent of the CD and the proliferation of digital sources argued for a modular approach to preamp design. In such an environment, line-level sources (eg, DAT, CD, even analog tape) deserve special attention.
I've heard a lot of great audio components over the years, but even in that steady stream of excellence, a few have stood out as something special. These are the products that, in their day, set a new standard for performance, and many of them are ones I wish I'd hung on to. Among these products are three preamps from Audio Research: the SP3A, the SP6B, and the SP10 (footnote 1). I know I'm not alone in viewing these models as classics.
One of the most striking aspects of high-end audio is that you can never take any component for granted. Most of the radical change in audio at present takes place in new front-end and speaker technologies, but other components are changing as welland with at least as much impact in making recorded music seem believable.