Audacious Audio

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Martin Colloms Posted: Jul 20, 2012 Published: Apr 01, 1993 0 comments
Owning a powerful tube amplifier is like owning a classic automobile. Great pleasure may be had, but ownership involves a little more care and maintenance than usual.

Jadis, an audiophile company specializing in all-tube amplifiers and operating out of a small French town, has enjoyed a good reputation for some years, even if some of its models have suffered from the reliability problems that occasionally afflict the largest tube amps. Another problem area is that of power consumption and heat output. In common with class-A amplifiers and high-bias A/B types, including solid-state models, larger tube amps give off substantial heat. The Defy-7's 240W idling consumption may or may not be welcome, according to your location and the season.

Art Dudley Posted: Jul 05, 2012 4 comments
For a manufacturer to squeeze money from the stone that is my CD-player budget, his products would have to be both exceptional and affordable. And as long as I'm reporting from Fantasyland, I'll ask that they also be obsolescence-proof.
John Atkinson Posted: Jul 02, 2012 8 comments
The phenomenon of the "singing flame" has been known since the 19th century. Place electrodes either side of a flame and, if you apply a high enough audio-modulated voltage to those electrodes, the ionized particles in the flame will cause it to emit sound. (Search YouTube for "singing flame" and you'll find many examples.) This principle was developed into a practical loudspeaker in 1946 by a French inventor, Siegfried Klein, who confined an RF-modulated arc to a small quartz tube, coupled it to a horn, and called the resulting speaker the Ionophone. An intense radio-frequency electrical field ionizes the air between inner and outer electrodes to produce a distinctive, violet-tinged yellow flame in the quartz combustion chamber. When the RF field is modulated by the audio signal, this causes the almost massless ionized flame to expand and contract in what should be a perfectly pistonic manner.
Michael Fremer Posted: May 18, 2012 Published: May 18, 2005 3 comments
Everyone's got their prejudices, and mine are against turntables with box-like plinths and big slabs of undamped acrylic. I have no problem with either in models that cost a few grand or less, but once you get into high-priced terrain, less plinth and less acrylic usually yields better performance. Generally, though, all a plinth gets you is a vibrating surface to transmit or store and release energy. Who needs that? If your high-performance 'table has a plinth, you need to heroically damp it the way SME does in its Model 30, and the way Rockport did in its System III Sirius.
Fred Kaplan Posted: May 14, 2012 9 comments
Around the turn of the century, a review of the latest hair-raisingly expensive turntable would often begin with a soothing chant that, yes, the RotorGazmoTron XT-35000 is a tad pricey, but it will be the last piece of analog gear you ever buy—so go ahead, take the plunge. A dozen years later, pressing plants are stamping out LPs 'round the clock, and new high-end turntables are rolling off production lines at a respectable clip. So who knows whether today's Cassandras might be equally premature in bewailing the death of the Compact Disc? Which is to say that I can't in good conscience urge you to pay $12,000 for a CD player on the grounds that the medium's about to die, so splurge now while there's still something to splurge on. But if you have the scratch, and the itch for such a product, step right up and let me tell you about the Krell Cipher.
Robert Harley Posted: Apr 27, 2012 Published: Mar 01, 1993 5 comments
There are as many ways of designing a digital-to-analog converter as there are engineers. One approach is to select parts from manufacturers' data books and build the product according to the "application notes" provided by the parts manufacturers. This is the electronic equivalent of a paint-by-numbers kit.

A more creative engineer may add a few tricks of his own to the standard brew. Bigger and better regulated power supplies, careful circuit-board layout, tweaky passive components, and attention to detail will likely make this designer's product sound better than the same basic building blocks implemented without this care. Indeed, the vast range of sonic flavors from digital processors containing very nearly the same parts attests to the designer's influence over a digital processor's sound.

Art Dudley Posted: Apr 10, 2012 2 comments
The sound of the Stenheim Alumine loudspeaker—its openness, transparency, and freedom from temporal distortions, not to mention its good bass extension for such a small enclosure—reminded me at once of my favorite small loudspeaker from the late 1980s, the Acoustic Energy AE1. On reflection, the comparison is extraordinary: The two products are as different as night and day, the AE1 being a wooden loudspeaker with a metal-cone woofer, the Alumine a metal loudspeaker with a pulp-cone woofer. I suppose one can skin a catfish by moving the knife or by moving the fish.
Michael Fremer Posted: Apr 06, 2012 7 comments
Take a casual look at the Mk.II edition of MBL's Reference 101E Radialstrahler loudspeaker, and you won't immediately see what's new compared with the original version, which I reviewed in October 2004. But the Mk.II has a shorter, sleeker bass cabinet, designed to, among other things, slightly lower the stack of omnidirectional drivers it supports. While the many other major revisions to this familiar and fascinating loudspeaker can't be seen, it's fair to say that, from the ground up, the Reference 101E Mk.II is a new loudspeaker in design, if not in concept.
John Atkinson Posted: Apr 06, 2012 0 comments
There is always a conflict between the needs of reviewers and the realities of the marketplace. Once a reviewer has invested his time and energy in a review, he would like that product to remain in production for all time, which would allow it to be used as a reliable recommendation forever. But whatever the product and whatever the category, sales of a product almost always follow the same triangular curve: a sharp rise at the product's introduction, a maximum reached sometime thereafter, and then a steady decline to a sustained but low plateau. Marketing-minded manufacturers therefore introduce a new model every three or four years, in hopes of turning that single triangle into a continuous sawtooth wave.
Jack English Posted: Mar 29, 2012 Published: May 01, 1996 0 comments
When you wish upon a star,
Makes no difference who you are;
Anything your heart desires,
Will come to you
.—Jiminy Cricket

12-21-92-17-52-46. Big deal, another $100,000 lottery winner. Where's Jean-Phillipe? Probably off getting us something to drink. Who can blame him? I can't believe people sit around dreaming and waiting to hear all these winning numbers. J-P, you out there?

Young, good-looking, bright—J-P had a lot going for him. He certainly didn't need to sit here listening to winning lottery numbers. Ah, there you are. What are you mumbling about?

"12-21-92-17-52-46. I've won! I've won! I've won!" He shouted over and over, almost crushing me in a bear hug.

My oh my, J-P had really won a big one. And what was it he'd been dreaming about while buying all those tickets every payday for the last three years? Speakers! He'd wanted to own the best loudspeakers in the world, and now he could.

Michael Fremer Posted: Mar 19, 2012 2 comments
As large as a small file cabinet and weighing 223 lbs, MBL's most powerful amplifier, the Reference 9011, is a tour de force of electronics design and implementation that will set you back $53,000 if you're a single-ended stereo enthusiast, or $106,000 if you like pure balanced mono.
John Atkinson Posted: Mar 08, 2012 1 comments
The Amati Futura is the third Sonus Faber loudspeaker to be called an Amati. The first, named simply the Amati and priced at $20,000/pair, was reviewed for Stereophile by Michael Fremer in June 1999. I reviewed the second, the Amati Homage Anniversario ($27,500/pair), in May 2006.
Art Dudley Posted: Jan 05, 2012 2 comments
At present, my writing chores are divided between two fields: domestic audio and lutherie. Having invested considerable time in both, and having by now met a number of builders who are distinguished in one or the other, I can say with all confidence that the best share a simple, single point of view: Everything makes a difference.
Brian Damkroger Posted: Jan 05, 2012 0 comments
Saying that Sutherland Engineering builds a nice line of phono stages is like saying that the Porsche 911 Carrera is a nice line of sports car. The Sutherlands all share common design philosophies, features, and sonic attributes—but just as ramping up from Porsche's classic Carrera Coupe ($78,000) to the GT3 ($115,000) or the Turbo S Cabriolet ($172,000) increases the level of performance and distills the Porsche experience down to its essence, ascending the Sutherland line from the PH3D ($1000) to the 20/20 ($2200) to the Hubble ($3800) buys more of what Ron Sutherland is all about.
John Atkinson Posted: Dec 30, 2011 Published: Jan 01, 2012 3 comments
High-end audio is in some ways a dynastic beast, though without as many "begats." One of the world's most successful loudspeaker manufacturers in the years following World War II was the Wharfedale company, from Yorkshire in the North of England. Wharfedale was founded by Gilbert Briggs in 1932, who in the 1950s handed over the reins of Technical Director to fellow Yorkshireman Raymond Cooke. Cooke left Wharfedale in 1961 to found KEF Electronics Ltd., where he subsequently appointed Goodmans designer Laurie Fincham as Chief Engineer in 1968. Fincham led a team of young engineers, including Mike Gough, who eventually joined B&W, and Yorkshire-born Andrew Jones, who became KEF's Chief Engineer in 1989, before Fincham was lured to Harman's Infinity division, in Northridge, California, in 1993. Jones followed Fincham across the Atlantic, where he worked on Infinity's Prelude, Overture, and Reference Series speakers, before joining Pioneer in 1997. The Japanese company had established a state-of-the-art speaker-design facility in Southern California, and Jones was invited to lead the design team.

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