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Robert Baird Posted: Aug 15, 2014 2 comments
Whether or not they vote to be independent next month from the UK, Scotland has always been independent musically.
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Stereophile Staff Posted: Aug 15, 2014 2 comments
For its PerfectWave DirectStream D/A processor, featured on our September issue's cover, PS Audio took a different approach. Rather than using the usual off-the-shelf parts, designer Ted Smith used Field-Programmable Gate Array chips (FPGAs) to process DSD data without compromising the integrity of the music. Art Dudley takes the new DAC out for a test drive and returned impressed by what he heard.
Thomas J. Norton Posted: Aug 13, 2014 Published: Feb 01, 1991 0 comments
jbl160.250.jpgA visiting manufacturer recently told us here at Stereophile of an ongoing informal "survey" he was conducting. He would ask strangers to name three brands of loudspeakers. Their responses were not what I would have expected. They almost invariably named Japanese companies—two of the most commonly mentioned were Hitachi and Panasonic. Other than my spell-checker insisting that I change "Hitachi" to "hibachi," I have nothing in particular against these two manufacturers; they are well-recognized in many product categories. But loudspeakers? I can only guess that the respondents were dredging up the only consumer electronics companies that came readily to mind.

My list for most recognized loudspeaker brands would most certainly have included JBL. How could it not? They have been involved in home high-fidelity since 1954. And for years before that in professional audio—primarily motion picture theater sound, a field in which they are still active. In short, they were around before there was such a thing as "hi-fi."

Corey Greenberg Posted: Aug 13, 2014 Published: Aug 01, 1991 0 comments
891vtl160.250.jpgWhen I reviewed VTL's 25W Tiny Triodes in April 1991, I found them to be incredibly fun little suckers to play with, but got frustrated with their inability to drive my Spica Angeluses to reasonable levels with most of my recordings. I loved what I was hearing, but there wasn't nearly enough of it! As it turns out, John Atkinson was listening; not just to my plea, but also to the new VTL Compact 160 monoblocks in preparation for a full review. However, while all this was going on, David Manley decided that the power-supply voltages in the 160 weren't beefy enough to exploit his new KT90 output tubes; back the amps went for a transformerectomy.
Dick Olsher J. Gordon Holt Posted: Aug 13, 2014 Published: Aug 01, 1985 2 comments
885gale.promo250.jpgThe Gale loudspeaker dates back to the early 1970s. As I understand it, the basic design resulted from a collaboration of Ira Gale and Sao Win, who were college classmates at the time. Their speaker proved very popular in England and was subsequently imported to the USA during the mid-1970s by Audio Technica. Recently, Techport (the folks who import the Perreaux line) has taken over US distribution.

While the Gales have undergone same changes through the years, their distinctive appearance and, according to some, their equally distinctive sonic "flavor," have continued to earn the respect of critical listeners all over the world. Nonetheless, these speakers have also sustained their fair share of criticism; not everybody likes them. This sort of continuing disagreement usually means that what is at issue is a "different" kind of sound—a product that sounds quite unlike others, yet somehow offers a high enough degree of musical satisfaction to appeal to a lot of serious audiophiles. Of such products are cults made.

J. Gordon Holt Posted: Aug 13, 2014 Published: Jun 01, 1984 4 comments
684rotm.250.jpgBeethoven: Piano Concerto No.5 "The Emperor"
Rudolph Serkin, piano; Boston Symphony Orchestra, Seiji Ozawa, cond.
Telarc CD-80065 (CD). Robert Woods, prod., Jack Renner, eng.

Vivaldi: "The Four Seasons"
Joseph Silverstein, violin; Boston Symphony Orchestra, Seiji Ozawa, cond.
Telarc CD-80070 (CD). Robert Woods, prod., Jack Renner, eng.

I have never been a fan of Seiji Ozawa, feeling that his interpretive approach is too often cold and attached. That's not true of this performance of the "Emperor" Concerto. In fact, my only criticism is that the performance seems at time a little too broadly Romantic, where somewhat tighter phrasing would have been in order. Ozawa and Serkin have turned in one of the most satisfying performances in Telarc's catalog, which contains a remarkable number of lackluster performances.

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Jason Victor Serinus Posted: Aug 10, 2014 1 comments
The 5th annual California Audio Show takes place August 15–17 in the four-star Westin SFO hotel in Millbrae, CA. Easily accessible via the freeway or BART (Bay Area Rapid Transit), this smaller-scaled show showcases rarely encountered big speakers from Dynaudio, Genesis, JBL, and Sound Labs.
Sam Tellig Thomas J. Norton Posted: Aug 09, 2014 Published: Jan 01, 1990 0 comments
666acoustat11.jpgI wish I could be enthusiastic about the Acoustat Spectra 11—an electrostatic/dynamic hybrid selling for $999/pair. At first glance, the Acoustat Spectra 11 looks like a good deal. They could almost be called knock-offs of the Martin-Logan Sequels—they're about the same size. As with the Sequels, there are moving-coil bass cabinets below, electrostatic panels on top. The Spectra 11 cannot be bi-wired and does not come with spikes. Tiptoes are recommended, and I used them. I let the speakers run in for about 24 hours before doing any serious listening.
Thomas J. Norton Posted: Aug 08, 2014 Published: Sep 01, 1988 1 comments
666sumopre.jpgSumo is one of a handful of American audio manufacturers dedicated to producing moderately priced products aiming for high-end sound; their most expensive product is the Nine Plus, at $1199 (although a more expensive Andromeda II is imminent). When I heard I was scheduled to review the Sumo Athena, I looked forward to the opportunity. A Sumo Nine (not a Nine Plus, which I haven't auditioned) had been my front-line power amplifier a few years ago. It was an excellent budget amplifier whose only serious shortcoming was its limited 60Wpc power output.
Thomas J. Norton Posted: Aug 06, 2014 Published: Sep 01, 1988 1 comments
666ps46.1.jpgChoosing a moderately priced preamp has traditionally presented the audiophile with a host of serious problems. Most attempt to be all things to all listeners, expending resources on bells and whistles which would have been better expended on basic performance. Few have anything resembling a decent moving-coil stage. But there have always been a few designers (and companies) willing to expend much of their effort at the "low end of the high end." PS Audio has been such a company. Their new 4.6 preamp, an update and cosmetic clone of the earlier, well-received 4.5, is not at the top of their preamp range—that honor belongs to the 5.5—but it is clearly designed to be more than a price-point product.

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