Film sequels are a mixed blessing. If an action movie holds my attention, I can't wait to see the sequel: same characters, same actors, new adventures. And if the first film was successful, studios are more than willing to oblige. So Jurassic Park begat The Lost World, which begat Jurassic Park III. But the results are often unsatisfying.
Nestled south of the North Downs in England's southeast, the Kentish dormitory town of Sevenoaks is about as sleepy a place as you can imagine. Yet 20 years ago, in the unlikely circumstances of the back room of a Sevenoaks pub, I witnessed the world of consumer loudspeakers changing. Meridian's Steve Hopkins was showing a pair of the company's active M2 loudspeakers connected directly to a 101 preamplifier.
Mirage is a good name for a speaker manufacturer; it suggests that their products produce realistic illusions. A 1934 dictionary I've got supplies a definition for "mirage" that might also be apt: "An optical atmospheric illusion by which the image of a distant object is seen as if inverted." I don't mean that the Mirage OM stands Harry Belafonte on his head, or make him sing "O-Day"—instead, certain tenets of cones-in-a-box loudspeaker design and usage are turned turvy-topsy by Mirage's Omnipolar concept.
People come to high-end audio with different needs and expectations—some fairly reasoned, some slightly more highfalutin. Some listeners want to get as close as possible to an immersion experience, be it of a live performance or of some more idealized studio ecstasy. Others are enraptured by the status and sex appeal of big, hot-rod components, and simply dig gear—much as they might dig the visceral rush of a high-performance car. Still others compulsively upgrade their equipment in search of some unattainable perfection. But no matter the initial motivation, all roads eventually lead back to a love of music.
I'll never forget my first encounter with the Krell LAT-1 loudspeaker. Late one Friday night last fall, on City Island in the Bronx, it was time for the monthly meeting of the Westchester Audiophile Society and I was late. I rushed through the door past a group of audiophiles and headed straight for the two new black loudspeakers already set up and ready to play. Music writer and society member Sid Marks made a sound. I turned to him and he pointed across the room: "Go tap on that enclosure." I walked over to one of the black speakers and did so. There was no sound—no give, no nothing. It was as if I'd knocked on a granite boulder. "See what I mean?" said Sid. I nodded. There was nothing to add.
Success can be a two-edged sword. With the Virgo (reviewed in September 1995), Audio Physic created a $5000/pair benchmark product at the midpoint of the company's speaker lineup. While an upgraded, $5800 Virgo is due out soon, the original version will remain in production, its price dropping to $4495/pair—less than it cost six years ago.
The occasion was the 1999 Consumer Electronics Show, and I had sought out the Sony suite at Bally's—the word in the Las Vegas bars where audio journalists hung out was that Sony was demonstrating the production version of their SCD-1 Super Audio CD player. I was glad I'd made the trek along the Strip: As I reported in the May 1999 Stereophile, the sound of a DMP recording—of unaccompanied choral music recorded and mixed in DSD by Tom Jung—was breathtaking, I felt, with an exquisite sense of space. It was definitely the best sound at the CES.
Electrostatic speakers are my passion. Why else have I put up with their high prices, unreliability, low power handling, tendency to arc, high-frequency beaming, limited bass response, and widely fluctuating impedances?
Those who have read this magazine regularly over the past five years know that Canadian designer Vince Bruzzese has been marketing his small, two-way loudspeakers under the Totem Acoustic brand name. Every review of one of these designs has raved about their strong bass response and three-dimensional imaging, but ends with a "but": "the sound is totally awesome, the imaging is holographic, and my wife thinks it looks terrific in the living room, but..."
I have a passion for great speaker designs at affordable prices, and with modern driver, crossover, and cabinet technologies making innovative strides, many serious high-end speaker designers are turning their attentions to coming up with the next great budget speaker. All audiophiles need affordable speakers, whether to recommend to friends to lure them into our hobby or to set up multiple, less costly systems in our own houses. I currently run a main reference system, a vacation-house system, a recording-studio system, a computer system, a portable system I take to parties, a car system, and an office system. I insist on having music playing constantly, wherever I am, unless my wife or son tells me to turn it off—which happens increasingly often these days.
The Revel Ultima Studios came to me by chance. I'd wanted to review Revel's high-value Performa F-30—see my May 2000 report—but the Studio was offered instead. By the time a pair of Studios had arrived, however, the F-30s were also on their way, and the Studios were put on the back burner. Because of the mix-up, I thought the Studios would be freebies—just listen for a while and send 'em back. I am now obliged to do the honest thing and fess up in public: Many months have passed and the Studios are still here.
English manufacturer Monitor Audio has been around for just about as long as people have been putting "high-end" and "audio" together—they opened their doors in 1972. Back in the mid '80s, when I was a young and carefree (and impoverished) consumer of hi-fi reviews, I'd read about the gold-deposited metal tweeters that Mo Iqbal was concocting and think, "Man, that's some exotic, far-out stuff!"
I've long been a fan of Naim electronic gear, and have used it for many years. I also have admiration and respect for the company's uncompromisingly consistent and determinedly individualistic approach to the various tasks and problems of loudspeaker design. But my enthusiasm for Naim speakers has long been tempered by a feeling that mechanical aspects of the design are given priority over acoustics and styling.