The last few years at our annual Home Entertainment Show, many readers have come up to me and asked: "How do you select which speakers to review?" In my case, most candidates are either new products that have impressed me when demonstrated at our HE Shows, or new products from manufacturers whose designs have impressed me in the past. Occasionally, editor John Atkinson gets wind of a speaker and asks if I'd like to review it. But once in a while, a manufacturer reads a rave review of a competing product that makes his or her blood boil.
There are three requirements: You must invent a very good loudspeaker that sells for between $1000 and $2000/pair. You have to make enough of them, over a long enough time, to achieve a certain level of brand recognition and market penetration. And you must create a dealer network of reasonable size, with an emphasis on well-promoted specialty shops.
You know me. I'm not perzackly an audio slut, but I am easy. When Audio Advisor's Wayne Schuurman called me to pitch the Vincent KHV-1pre tube-transistor headphone amplifier, he pretty much had me at "tube" and "headphone." But I wasn't familiar with Vincent Audio.
On May 21, 2008, five months after purchasing my very first turntable (a Rega Research P3-24), I decided that my obsession with LPs had grown to the extent that I could no longer function without a good record-cleaning machine. I'd done some research and found that the device best suited to my life and wallet was VPI's time-honored HW-16.5. I was certain, anxious, determined. But that morning, when I gave VPI a call, the line was busy. When I called again in the afternoon, the line was busy. When I called again in the evening, the line was busy.
Last December, when Wadia Digital announced that it was releasing an iPod docking cradle that could access the digital signal before it had passed through the player's own D/A converter, many audiopundits were surprised. I was disbelieving, and nearly told Wadia's John Schaffer that he was shining me on. After all, Apple has tiptoed around the whole issue of consumers being able to digitally copy their iTunes files, going so far as to wrap its iTunes Music Store files in digital rights management (DRM) code.
I don't remember where I was when the Berlin Wall came down, and I already don't remember what I was doing when Liz Taylor died. (I suppose I was busy not thinking about Liz Taylor.) But I do remember when USB-based computer audio became a serious medium: That was when Gordon Rankin, of Wavelength Audio, introduced asynchronous data streaming, with his proprietary Streamlength software. After that, things picked up speed.
Designed to be used onstage by musicians monitoring their sound and mix, in-ear monitors (IEMs) such as the new Westone 3 are great in situations where you want to hear nothing but the music. They're small and portable, and their high efficiency and easy impedance load mean they work well with portable players. IEMs are better than electronic-feedback, noise-reducing, closed circumaural phones at blocking out airplane engine noise and annoying neighbors who want to chat. They're also more compact, sound better, and don't require batteries.
A while back, I received an e-mail from The Kid (Stephen Mejias): "I've been listening to and enjoying the Wharfedale 10.1 loudspeakers ($350/pair) for a couple of months. I wrote about them for my March and April issue columns, but they are good enough for a complete review. Are you interested?"
Hmm . . . so The Kid is now assigning me equipment reviews? "Sure, why not?"
The day after the Wharfedales arrived, The Kid sent me another e-mail: "Have you unpacked them yet? They are so pretty!"
Convergence is a widely used buzzword in today's consumer-electronics industry. However, other than using my PC's soundcard in the office to play back MP3-encoded music and plugging the Mac in my listening room into my reference system in order to experience Riven with the highest possible sound quality, I've kept a low profile in this area.
YBA Design's new WD202 D/A processor and headphone amplifier showed up while I was turning the pages of Don and Jeff Breithaupt's Precious and Few: Pop Music of the Early '70s, recommended by John Marks in his October 2009 "Fifth Element" column. Each page drips with great examples of why the 1970s often wind up on the wrong end of the culture stick (the Osmonds, anyone? Terry Jacks?).
In 1962, when tennis rackets were made of wood, newspeople were known for challenging the government, and the off-Broadway musical The Fantasticks was in its second year (the show closed in 2002), Nippon Columbia's Denki Onkyo (or Den-On) division introduced to the professional audio world a brand-new moving-coil phono cartridge. Developed in cooperation with the Japan Broadcasting Corporation, the DL-103 was one of the first attempts at making a truly wide-bandwidth stereo cartridge that nonetheless could withstand the rigors of back-cueing. The DL-103 was a nearly instant success with broadcasters, and its popularity spilled over into the world of domestic audio.