While it is not quite accurate to say that $500/pair loudspeakers are a dime a dozen, they are by no means unusual. And since this is a price area where major design compromises are mandatory (footnote 1), the sound of such loudspeakers tends to vary all over the map, from pretty good to godawfuldepending on what performance areas the designer chose to compromise and by how much.
I approached this latest half-grander with little enthusiasm, despite Siefert's persuasive literature, I have, after all, been reading such self-congratulatory hype abiout new products for longer than most Stereophile readers have been counting birthdays. This, I must admit, was ho-humsville.
There's so much uncertainty and confusion surrounding computer audio and high-resolution downloads. Which hi-rez formats will win out? How do you store the downloads you've bought? (Easy. Don't buy them.) How do you access them? Will digital rights management (DRM) cramp your style, or data-storage fees for cloud computing crumple your wallet?
It was another flawlessly beautiful spring morning, and I was in Bay Ridge, Brooklyn, to help John Atkinson pack up the Lansche Audio 5.1 loudspeakers ($41,000/pair). John had only just completed his listening and bench tests (see his review in the July issue), and was not ready to let go of the lovely Lanschesbut the speakers would be picked up by a trucking company that afternoon and sent to our cover photographer, Eric Swanson, in Santa Fe, New Mexico. Each Lansche measures 40.9" tall by 10.1" W by 19.3" D and weighs 167.5 lbspacking them and securing them to a shipping pallet is definitely a two-man job. In our case, that job required a lot of wheezing, a little bleeding, and just the right amount of cursing. And because it was only 11am when we met, we were obliged to accomplish the task without the aid of beera crying shame, if you ask mebut we handled it in our usual, manly fashion.
We've all read about how bookstores, appliance stores, and other bricks-and-mortar retailers are suffering with the increasing domination of Internet sales. That got me thinking about audio dealers. I've always believed that one can't really make an informed purchase of audiophile equipment without hearing it in a system properly set up by and at at a serious audio retailer. Here in New York City, we're blessed with six first-rate audio dealers in Manhattan alone, with more in the suburbs. I estimate that 90% of the products reviewed in Stereophile can be auditioned at a dealer or two within a two-hour drive of anywhere in the New York metropolitan area.
The first loudspeaker I heard from the Canadian company PSB was the Stratus, an affordably priced ($1400/pair), two-way tower with a soft-dome tweeter and an 8" woofer. The Stratus had benefited from designer Paul Barton's being able to use the anechoic chamber at the Canadian government's National Research Center, in Ottawa. The Stratus was reviewed for Stereophile by J. Gordon Holt in our May 1988 issue; he described the speaker as "eminently listenable," though Gordon also felt that it was "a little lacking in guts and liveliness." I had sat in on some of his listening sessions and had been impressed by what I heard.
When it comes to getting audio from a PC via its USB port, the buzzword du jour is asynchronous. This cryptic term refers to which device has control over the timing of the audio data being streamed from the computer: the computer itself, or the device receiving the data. It might seem logical to have the computer control the timing, but this is not so. When digital audio data are converted to analog by a D/A converter, control over exactly when each dataword is converted is critical for the best quality of sound. Any uncertainty in that timing manifests itself as analog distortion, aka jitter.
Back at home, I'd recently set up Polk Audio's RTi A3 loudspeakers ($399.95/pair), which, at 14.75" H by 8.58" W x 14" D, are by far the largest bookshelf models I've had in my listening room. Right out of the box, the RTi A3 impressed me with its fit and finish. In Polk's Damped Asymmetrical Hex Laminate Isolation (DAHLI) cabinet design, five layers of MDF are glued together to form a damping system, then topped by a real-wood veneer of black ash or, in the case of my review samples, an impeccable cherry. The gracefully curved cabinet narrows in width from 8.58" at the front to about 5" at the rear, and is said to create a stronger, more rigid, more acoustically inert enclosure. (Knocking on the speaker's side panels resulted in a hollow resonance.)
I thought I'd review the procedure I typically use to seek out affordable speakers for review as, in the case of the Denmark-designed DALI Zensor, made in the company's facility in China, there was a twist at the end.
In preparing to review affordable loudspeakers, I typically put together a list of potential candidates I've discovered at audio shows, or that have been recommended to me by other Stereophile writers. I add to that list products I've learned about from press promotions, usually from companies whose products have impressed me in the past. I boil this down to a short list, then run it by Stephen Mejias to make sure I'm not tripping over The Kid's own quest for budget sonic nirvana.
It was unusually warm for early spring, without a cloud in the big, blue sky to tame the sun's dazzling lightfar too beautiful a day to be indoors, but Uncle Omar and I had already planned a little listening session, and I was determined to show him that high-end cables would make a difference in his system. I wasn't necessarily feeling bullish about the task, though. It had taken me a couple of years to convince Omar that he should replace his old boom-box speakers with something better, and it was only dumb luck that finally made it happen: I was with him when he found a gently used pair of B&W DM602 speakers at a junk shop in Jersey City. When they were new, the DM602s sold for around $600/pair, but on this happy day they were tagged at $50. "Do it," I begged him. "Doooooo it!"
It's common knowledge that manufacturers tune the sound of each DAC model. There are the facts of product design and marketing: inputs, outputs, case materials, price points. After that, what's left are the trade-offs of different circuit designs and filter options, which are chosen with careeach has a subtle yet telling effect on a DAC's sound. Most designers try to go from bits to analog with minimal deviation from perfect. But when you look at the measurements and listen closely, you realize that perfect is elusive. One has to make choices.
Because I am an audiophile, I want to hear that music through the best possible source component. Lately, I've been enjoying CDs through the Emotiva ERC-2 CD player ($449).
The Emotiva ERC-2 measures 17" (435mm) wide by 4.25" (110mm) high by 14" (360mm) deep and, at 17.5 lbs (8kg), is the heaviest component to enter my listening room since the 25-lb Simaudio Moon i3.3 integrated amplifier ($3300, discontinued). The player's distinct appearance was developed by Emotiva's president and CEO, Dan Laufman, and VP of engineering, Lonnie Vaughn. In building the ERC-2, their goal was to "keep it simple, easy to use, and elegant . . . in a machine-oriented way."
While listening to Boston Acoustics' A 25 loudspeaker ($299.98/pair), I kept thinking about magic.
Paul Messenger introduced Boston Acoustics' A Series in the April 2011 "Industry Update." With the creation of the A Series, Paul reported, BA wanted to create a "global loudspeaker," one that would be appreciated by music lovers worldwide.
The two-way Energy CB-10 ($269.99/pair) is a bass-reflex design. A large rear-firing port has an internal diameter of 2" and flares out to 2.75". The speaker uses a 1" aluminum-dome tweeter and a 5.5" woofer with a ribbed elliptical surround, the latter said to increase excursion, decrease distortion, and create a larger piston area for greater efficiency, making the CB-10 an easy match for amplifiers. The CB-10's frequency range is listed as 66Hz20kHz, its in-room sensitivity as 90dB, and its nominal impedance as 8 ohms. In Energy's Convergent Source Module design, the tweeter and woofer are meant to act as a coincident source working together to provide wide bandwidth, constant dispersion, and a flat frequency response. In theory, this would all add up to easy setup and satisfying listening from anywhere in the room.
Playing a Compact Disc is nothing like playing a live show.
Wild, right? This is just the latest of the profundities to explode into my mighty brain as I slouch on the orange couch, staring at stacks of CDs, contemplating life and stuff. It came to me on a lovely Sunday morning. The sun was shining, the birds were cheeping, and I was still high from my band's performance two nights earlier.
"We like to make things," Roy Gandy, Rega's founder and owner, once told me. "It's what we do." Or maybe it was Rega's chairman and chief engineering honcho, Terry Bateman. Rega products are designed and manufactured in the south of England. So far as I know, no one at the Rega facility, on the Temple Farm Industrial Estate, has committed suicide; the same cannot be said of workers at the factory in China where iPods are made. Al Gore is on the board of Apple. Al, what do you think?