Audacious Audio

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Michael Fremer Posted: May 14, 2014 8 comments
VPI Industries' Harry Weisfeld has tried, built, and marketed almost every known way of spinning a platter. He began in the early 1980s, before many recent turntable enthusiasts were born, with the belt-driven HW-19, and since then has produced rim-driven models, and 'tables with motors outboard or inboard, one or three pulleys, one or three belts, and platters of acrylic or aluminum alloy. But while Weisfeld has owned quite a few direct-drive 'tables, he'd never come up with his own—until now.
Jonathan Scull Posted: Aug 08, 2011 Published: Oct 01, 1996 1 comments
Most reviewers look for a "hook" or angle of some kind when it comes time to write a review. After all, how many ways are there to get excited about audio equipment? Kathleen and I like to focus on the human side of the High End. So it was with some amusement that I watched the obstacles swirl around what I thought would be a fairly straightforward review of the Vacuum Tube Logic MB-1250 Wotan monoblock power amplifier. My thought was to return from single-ended to push-pull with a bang! I'll say...

It all began at the January 1996 WCES, where I found my shorts positively welded to the listening chair during a memorable musical blast at VTL. Luke Manley and his extreme audiophile wife Bea had a good thing going and they knew it. People were talking. "Did you hear those monster two-storey VTLs on the Alón Vs?"

Michael Fremer Posted: Apr 26, 2011 0 comments
The VTL MB-450 series began life in the late 1980s as the Deluxe 300, a pair of which I once owned. Over the years the basic design has been improved and modified, in the forms of the MB-450 (1996) and the MB-450 Series II (which I reviewed in January 2008). The tube complement remains the same: eight 6550s in the push-pull output stage, a 12AT7 input tube, and a 12BH7 driver. Into a 5 ohm load, the MB-450 III is claimed to produce 425W in tetrode mode or 225W in triode, from 20Hz to 20kHz.
Michael Fremer Posted: May 02, 2014 0 comments
Big tube amplifiers were once scary monsters reserved for those who didn't mind heavy maintenance, careful tweaking, and the occasional explosion. Blown tubes required replacing, preferably with pricey matched pairs, then biasing with a voltmeter. Optimal sonic performance required regular bias monitoring and adjusting, and because of current surges on startup, you had to choose between leaving the heat-producing monoliths on, or turning them on and off for each listening session, thus shortening the life of the tubes.
Arnis Balgalvis Posted: May 06, 2010 Published: Jan 06, 1990 0 comments
Ain't technology grand! That's what I was thinking while driving to work this morning. Sure, the rain was coming down in buckets, but there I was sitting comfortably in a warm car, listening to music while making tracks at 50mph. A long way from horse-and-buggy days.
Michael Fremer Posted: Jul 10, 2004 Published: Jul 01, 2004 0 comments
Leaving aside for a moment the fact that the Wavac SH-833 costs $350,000/pair—
Art Dudley Posted: Jul 19, 2010 0 comments
Before last year, I had no more than a professional interest in the products of Wilson Audio Specialties. But before last year I hadn't experienced Wilson's Sophia Series 2 loudspeaker ($16,700/pair)—which, like the wines I tend to order when my wife and I go out to dinner, is the second-cheapest item on their menu. Within weeks of the Sophias' arrival, respect had turned to rapture, like to love, and an entirely new appreciation for Wilson Audio was mine (footnote 1).
Michael Fremer Posted: Dec 28, 2012 61 comments
The Wilson Audio Specialties Alexandra XLF costs $200,000/pair. So does a Ferrari. Perhaps if Wilson Audio Specialties sold as many pairs of XLFs as Ferrari sells cars, the price might drop. For now, $200,000 is what you pay.

Can a loudspeaker possibly be worth that much? Add $10,000 for speaker cables, and that's what I paid for my first home in 1992. Today, the average American home costs around $272,000, which is likely less than the cost of an audio system built around a pair of Alexandra XLFs.

John Atkinson Posted: Dec 02, 2013 9 comments
With the help of 20:20 hindsight, it looks as if I made a decision when I joined Stereophile: to review a loudspeaker from Wilson Audio Specialties every 11 years. In June 1991, I reported on Wilson's WATT 3/Puppy 2 combination, which cost $12,740/pair in an automotive gloss-paint finish. This was followed in July 2002 by my review of the Wilson Sophia ($11,700/pair). And now, in December 2013, I am writing about the Wilson Alexia, which costs a not-inconsiderable $48,500/pair.
Martin Colloms Posted: May 11, 1999 0 comments
It's been five years since David Wilson's X-1/Grand SLAMM speaker system invaded our audio consciousness with its 500W power capacity and very high (95dB/W) sensitivity (footnote 1). Capable of an earsplitting 123dB at 1m, with a bandwidth to match, this was one speaker system that refused to be ignored. The X-1 has since evolved to $70,000/pair Mk.II form. It now provides some flexibility of tonal balance for different room acoustics, and is distinguished by greater subtlety in its differentiation of timbre. Beneath the X-1 in Wilson's range comes the WATT/Puppy ensemble, now in its 5.1 iteration (footnote 2). The WATT/Puppy has survived for over 10 years, and sets a benchmark for the Wilson line at its $17,270 system price.
Michael Fremer Posted: Sep 14, 2009 0 comments
Though taller, narrower, deeper, more gracefully sculpted, and even more mantis-like than the MAXX Series 2 that I reviewed in the August 2005 Stereophile, at first glance the Wilson Audio Specialties MAXX Series 3 seems little more than a minor reworking of its predecessor with a major increase in price: from $44,900 to $68,000 per pair. But first looks can be deceiving. Take a closer, longer gaze—or, better yet, spend some time listening (especially if you've spent time with the MAXX 2)—and you'll quickly realize that while the familiar Wilson design concepts remain in play, the MAXX 3 is far more than a minor reworking of an older model.
Michael Fremer Posted: Aug 14, 2005 0 comments
When Wilson Audio Specialties' Peter McGrath offered me a pair of MAXX2 loudspeakers to review, I reminded him of just how small (15' by 21' by 8') my room is, and how close I sit to any speakers in it.
Martin Colloms Posted: Dec 31, 1998 Published: Dec 31, 1994 0 comments
How can a reviewer possibly put a value on a loudspeaker as costly as the Wilson Audio Specialties X-1/Grand SLAMM? When he reviewed Wilson's WATT 3/Puppy 2 system ($12,900-$16,000/pair, depending on finish) a few years back (footnote 1), John Atkinson said that it was "one of the more expensive loudspeakers around." The Grand SLAMM costs almost five times as much!
Jonathan Scull Posted: Jan 26, 2013 Published: Feb 01, 1997 11 comments
ybacd101.jpgI'm about to out YYves-Bernard André as one of the great unknown tweakers of high-end audio. (My own predilection for stepping into uncharted tweakwaters is well known.) Yves-Bernard, his wife and partner Ariane Moran, and importer/distributor Daniel Jacques of Audio Plus Services seemed perfectly sanguine about letting the cat out of the bag. And why not? In a singular way, the YBA audio solution encompasses both the supertweak and the more-casual-about-equipment music lover.

The YBA CD 1 Blue Laser (or Lecteur CD 1, as it's known at home in France) breaks new ground. It is very French in that it's individualistic in the extreme, and perfectly embodies current thinking chez YBA regarding music playback in the home. Its design dates back to 1991, a point Yves-Bernard takes pains to point out in the manual.

Wes Phillips Posted: Mar 13, 2009 0 comments
You've seen the ads from YG Acoustics: "The best loudspeaker on Earth. Period." It sounds arrogant. But come on—high-end audio has never been a field of shrinking violets. When Ivor Tiefenbrun of Linn announced that the turntable, not the cartridge or loudspeakers, dictated the sound quality of an audio system, that was a man convinced that he was right and taking on the world. And was Krell's Dan D'Agostino any less arrogant when, in 1980, he introduced the KSA-100 power amplifier? In a world where small size and high wattage were the norms, didn't it take a pair of big brass 'uns to bring out a honkin' huge slab of metal that put out only 100Wpc?

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