This lapsed fan of electrostatic speakers finds it curious that, while MartinLogan is the predominant representative of this technology in the US, I had never auditioned an ML design in my home. I've enjoyed many Janszen tweeters, a KLH 9, an AcousTech X, Stax ELS-F81s, and I've dallied with Quad ESL-63s. But as dumb luck would have it, the first MartinLogan speaker to reach me, the new Montage, is a hybrid model.
Living with a brand-new Cyrus amp was a pleasantly nostalgic thing to do, even from the start: It arrived in a clean and downright attractive carton that seemed designed specifically to contain a brand-new Cyrus amplifier. Think of it! And I haven't even mentioned the nice owner's manual or the balance control or the headphone jack. As I said: the good old days.
Usually, a Stereophile "Follow-Up" follows up (duh!) a full review of the component in question. This review, however, is intended to flesh out a cryptic comment made by Wes Phillips in April's "As We See It": "When Apple introduced its AirPort Express wireless multimedia link," Wes wrote, "it even included a digital port so that an audiophile—such as Stereophile's editor—could network his system, using the AE to feed his Mark Levinson No.30.6 outboard D/A converter. 'Sounds okay,' deadpans JA."
Following my favorable experience with Epos Ltd.'s entry-level loudspeaker, the ELS-3 ($329/pair; see my January 2004 review), Roy Hall, of importer Music Hall, called me with some excitement about the new Epos M5 ($650/pair). In a crowded room at the Home Entertainment 2004 show in New York, I did a quick comparison of the M5 and ELS-3 under suboptimal conditions of multiple speakers in the room and Roy answering consumers' questions while pouring scotch for his dealers. Still, I was able to hear enough from the M5 to intrigue me, and with high expectations, I asked for a pair for review.
My normal practice in seeking out contenders for Affordable Speaker Nirvana is to pursue speakers I stumble across at our Home Entertainment shows, and to keep tabs on new designs from manufacturers whose wares have impressed me in the past. This time, however, editor John Atkinson called me out of the blue: "How would you like to review the Amphion Helium2 loudspeaker? It's the entry-level speaker in a Scandinavian speaker line distributed by Stirling Trayle of Quartet Marketing."
When, on his long-running TV variety show, Jackie Gleason used to order up some "traveling music" from music director Ray Bloch, he got a live orchestra's worth. But when Gleason, a composer and conductor in his own right (he wrote his show's unforgettable theme song, "Melancholy Serenade"), actually traveled, his listening options were severely limited compared to ours. By the time the comedian died in 1987, Sony had introduced the Walkman cassette player, but Apple's iPod was still more than a decade in the future.
I saw it coming back in 1996. That was when Rega introduced their full-bore assault on the state of the art of record replay, the Planar 9 turntable. The P9 was and is a superb product, but because it sells for $3900—more than five times the price of the company's bread-and-butter model, the venerable Rega Planar 3—its introduction created an enormous price gap. And that's not to mention all the numbers between 3 and 9 that have languished for so long: How could you not expect Rega to fill in the blanks with Planars 4, 5, 6, 7, and 8?
Paul Barton, founder of PSB Speakers International, is an icon of the North American speaker industry. A talented designer who has for many years produced innovative and cost-effective designs at a range of prices, Barton does not let time stand still, constantly updating and revising his designs. But what makes him unique, in my view, is that, unlike the designers at most North American speaker companies, whose successful affordable designs are trickled down from their more expensive models, Barton, like the British designers, seems to get most of his excitement from his budget lines. His original PSB Alpha was, in its day, the most significant entry-level speaker made in North America since the original Advents of the 1970s.
I am biased in favor of Paradigm loudspeakers. I've used them for 10 years; they offer good sound and good value, properties they share with a number of other Canadian makes who have taken advantage of Canada's National Research Council facilities in Ottawa. In fact, the first components I bought specifically for what is now my multichannel system were Paradigm Esprit/BP speakers, which had impressed me at a Stereophile show. When I took the step into multichannel and found that there wasn't a matching center-channel speaker for the Esprits, I replaced them with Paradigm's Reference Studio/60 v.2s. But while the smaller Reference Studio/20, and the larger Studio/100 have both been reviewed in Stereophile, the Studio/60 had not. The release of the v.2's successor, the Reference Studio/60 v.3 ($1699/pair), was an opportunity to fill that gap.
The integration of computers into high-end audio is contentious. A reader poll last spring on our website indicated that a significant proportion of audiophiles—a quarter—is dead set against the idea, yet both Microsoft, with Windows Media Player 9, and Apple, with iTunes, seem convinced that the future of domestic music reproduction involves computers. To support that idea, both Apple- and Windows-based computers (the latter with Intel's about-to-be-launched HD Audio technology) are promoting hi-rez audio playback.
In the September 2001 Stereophile (Vol.24 No.9), I wrote very favorably about Polk's RT25i loudspeaker ($319.90/pair). That bookshelf model impressed me with its open, neutral midrange; its pristine, extended high-frequency response; and its low-level dynamics. On the minus side, the RT25i was fairly limited in low-bass extension and high-level dynamic slam. At the time, I was seeking a new speaker for my home computer music-composition system, and I bought the review samples—the only time I've done that since I began to write for Stereophile some 20 speaker reviews ago.
Attending a Consumer Electronics Show is enjoyable, productive, nerve-racking, and exhausting. Too many components, so little time. One has to prioritize to ensure sufficient time to cover everything intended. One needs to avoid certain rooms, such as those with new, unremarkable designs from companies whose designers would love to talk—for half an hour or more—with each audio reviewer who makes the mistake of sauntering in. There are also many rooms in that middle region—rooms on neither the Must Hit nor the Must Avoid list.