I am reluctant to call any given transistor power amplifier a "best buy" or "breakthrough." From my talks with designers and other audiophiles, it is clear that the state of the art in power amplifiers is about to change. From where I stand, the Adcom GFA-555 is the first sample of this new wave. It is so clearly superior to past amplifiers in the low- to mid-priced range—not to mention most amplifiers two to three times its pric—that I can unhesitatingly recommend it for even the most demanding high end system.
What I wanted to talk about briefly this month is the new Apogee Duetta, the baby of this speaker family. This particular baby will cost you the rather grown-up figure of $2300/pair; over here in the UK it costs a demonic £3300/pair, roughly double.
Time to 'fess up: How many of you actually read the "Measurements" sections of Stereophile's equipment reports and understand what's being measured, and why? I suspect that many readers skip over the technical assessment of the reviewed product and make a dash for the "Conclusion."
The Complete Guide to High-End Audio by Robert Harley 450+xxiv pp., $29.95 softcover, $39.95 signed hardcover. Published by Acapella Publishing, P.O. Box 80805, Albuquerque, NM 87198-0805. Credit-card orders: (800) 848-5099.
Frankly, I'm fed up with the prophets of doom, those false seers who forecast vinyl's imminent demise. Some claim to have seen the writing on the wall as far back as ten years ago, sensing that the advent of the CD would perforce relegate the stylus-in-groove method of transduction to the trashpile of history. First of all, most of the music I enjoy happens to be on LP. And I'm sure I speak for many audiophiles who have also spent a lifetime building up a vinyl collection when I say we're not about to throw away our cherished treasuries of music. These LPs I expect to enjoy until the end of my time. Thus, I welcome any phono-system technological advance that will recover more information from the groove.
In the October 1994 Stereophile (Vol.17 No.10, p.39), I discussed my experiences with the DTS audio data-reduction code/decode switch box, which, briefly, is a two-channel box that makes use of the algorithm DTS has proposed for their version of discrete multichannel sound for laserdiscs.
Back in the spring of 1990, Stereophile introduced its first Test CD, featuring a mixture of test signals and musical tracks recorded by the magazine's editors and writers. Even as we were working on that first disc, however, we had plans to produce a second disc which would expand on the usefulness of the first and feature a more varied selection of music. The result was our Test CD 2, released in May 1992.
Back in the summer of 1968, I bought a secondhand pre-CBS Fender Precision Bass guitar for the grand sum of £35 (then about $75) (footnote 1). It was so cheap because the previous owner had pretty much scratched the sunburst finish to ribbons. The P-Bass may have looked like roadkill but it played like a dream, so I decided to refinish its body. Paint stripper removed the remains of the original nitrocelloluse lacquer, leaving me with a white wood body—ash, I understand—which I carefully sanded and stained. Contrary to what you might expect, the finish of an electric guitar does have an effect on the sound, so I thought long and hard about how I was going to varnish the body. I ended up applying thinned gloss-finish polyurethane, which I then sanded, repeating this process some five or six times, using finer and finer sandpaper, until the application of a final coat of varnish gave as close to a mirror-smooth finish as I could get...which wasn't anything near as perfect as the piano-lacquer rosewood finish on the samples of the Monitor Audio Studio 6 loudspeaker that Monitor Audio USA sent for review!