In his "Manufacturer's Comment" in response to my review of the original Music Reference RM-200 power amplifier in the April 2002 issue, designer Roger Modjeski admitted that being a manufacturer was not his first choice. "Frankly, I'd rather consult than produce," he claimed. "I'd rather be making a living doing stand-up comedy," I said to myself after reading his comment.
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.
It's been a while since I've had a classic amplifier in my system, and McIntosh Laboratory's MC275 is as classic as they come. Introduced in 1961 as the "powerhouse" of that era's newfangled stereo tube amps (two 75W amplifiers in one chassis!), the MC275 retained its position as the amplifier to ownchallenged only, perhaps, by Marantz and a few othersuntil 1970, when it fell prey to the widespread wisdom that transistors were king and tubes were dead, and the model was discontinued. The MC275 briefly returned in 1993, in a limited "Commemorative" edition to honor the late Gordon Gow, longtime president and chief designer of McIntosh Labs. To everyone's surprise, that edition sold well, and McIntosh, gingerly at first, crept back into the tube business.
I hate audio shows. All those manufacturers and retailers desperately demonstrating their products, knowing how impossible it is to do them justice in a hotel room. They might be saying, "It has gold-plated circuit boards and unobtainium binding posts," but all I hear is Please love it, please love it, oh puhleeze . . .
Two audiophile buddies of mine both own Rogue Audio M-150 monoblocks. I'd always been impressed with not only the sound quality of the M-150, but also its price. For $4495/pair, I thought my friends got a whole lotta amp for notta lotta dough. In this day and age, it's a rare and wonderful thing to get a pair of monoblocks, made in the US by a real audio company, that give you 150Wpc of tube power for under $5000. When Rogue came out with an update of the M-150, the M-180 ($5495), I thought it might be a good subject for my first full review in Stereophile. John Atkinson thought so too. I also thought it would be interesting to compare the M-180 with the very tube-like and almost identically priced Pass Labs XA30.5 two-channel amplifier ($5500), a sample of which I had on hand. (see my Follow-Up in August 2009).
Remarkably, I set out to audition the Hyperion HT-88 amplifier ($2800/pair) over two years ago, only to be confounded by shipping errors, miscommunications, and, in the end, a stealthily defective tube. I almost gave up.
Stop me if you've heard this one: Back in the early 1990s, just after the fall of the Soviet Union, I debated professor of music engineering and magazine columnist Ken Pohlmann on a talk show on the CBS radio network. The subject was analog sound vs digital sound, but I guess when Pohlmann felt I was getting the upper hand, he felt he needed to play the tube card. Derisively, he said, "I bet you're one of those tube guys, too, aren't you?" Before I could open my mouth, he continued: "You know, the Soviet Union's military gear, including the MIG fighters, ran on tube electronics, and look what happened to them!"
Ars-Sonum is a Spanish audio company that, as far as I can tell, makes only one product—but it's a doozy (footnote 1). The Filarmonía SE is a tube integrated amplifier that is, in many ways, an homage to Dynaco's iconic Stereo 70 power amplifier of 1959, but the Filarmonía is by no means a slavish copy. Get down to specifics, and it's actually more of a clean-sheet-of-paper design.
When I attend Stereophile's annual Home Entertainment show, I rarely sit and listen to music for very long. Instead, I try to hit every room, press the flesh, find out about new products, and play a little jazz.
When audio designer Ken Shindo was a little boy, his father kept an enormous collection of 78rpm records in their home in Tokyo. During the final days of World War II, the Japanese authorities did their best to evacuate the city, but the elder Shindo was steadfast: He refused to leave, for fear that the records would be gone when he returned.
Today is Monday, February 5, and it's so buttercupping cold outside that the custodian couldn't get our school's oil burner started. Consequently, my daughter is home for the day, playing on the rug in front of the fireplace. (Santa brought a wooden castle and a fine selection of medieval figurines, some of which are headed for the dungeon as we speak.) I'm at my desk in the music room, on the upwind side of the house—and the wind is murder. The west wall is cold. The north wall is cold. The floorboards are cold. But the air inside is warm as toast: I'm driving my Quad ESL speakers with a Joule Electra VZN-80 amplifier ($12,000) that isn't at all bashful about squandering a goodly amount of energy as heat. I can't think of a more delightful quality for an amp to have, at least on a day like this.
When I unpacked the Rogue Audio Atlas, I didn't know how much it cost. After examining its chassis of high-grade steel, its silver-anodized aluminum faceplate, its sleek and slightly rounded edges, and, above all, its two chunk-o'brick transformers—for such a little thing (a foot-and-a-half square by half-a-foot high), it's heavy—I guessed around five grand. Then I called Rogue Audio and learned that it retails for $1395.
Everybody loves a bargain. No—make that: Most people love a bargain. Some just want the best, and they don't care about the cost. Some even distrust and reject out of hand any product that's not expensive enough. If you're one of these people, you might as well stop reading this review right now—the PrimaLuna ProLogue Three and ProLogue Seven are not for you. $1395 for a tube preamp? $2695 for a pair of 70Wpc tube monoblocks equipped with four KT88 tubes each? Must be based on old designs in the public domain using cheap parts carelessly assembled...