Audacious Audio

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Michael Lavorgna Posted: Oct 30, 2014 1 comments
Do you travel? Commute, perhaps? Just like to listen to music privately around the house? No matter—the Astell&Kern AK240 is the luxury choice in high-resolution portable music players (footnote 1). It even comes with a lovely leather case that beautifully cradles its angular beauty. The AK240 can play all of your PCM files, up to a resolution of 24-bit/192kHz, as well as DXD and single- and double-rate DSD, natively, and can do so from its internal storage, from a microSD card, or from your computer via WiFi or a wired connection. It can also function as a DAC or USB-to-TosLink converter. I'm not so sure there's much left wanting.
Michael Fremer Posted: Oct 10, 2014 0 comments
Among the biggest buzzes at the January 2013 Consumer Electronics Show, and at Munich's High End Show the following May, was the sound in the room of Siltech BV, a Dutch company best known for its high-end cables. Siltech was demonstrating an innovative new power amplifier, and using it to drive the company's glass-cabineted Arabesque loudspeakers ($90,000/pair). The sound was unmistakably lush yet also remarkably linear, notably dynamic, and seemingly free of electronic artifacts. It sounded like the sound of "nothing"—which was really something!—and so much of a something that it caught the attention of many reviewers. But while there's often controversy and disagreement about a given product's sound quality, this time the enthusiasm seemed unanimous.
Robert J. Reina Posted: Jul 31, 2014 4 comments
I've long been impressed by the design, construction, and sound of the tubed electronics produced by Vladimir Lamm, but I'd never had a Lamm Industries product in my house. So I asked for a review sample of Lamm's flagship line-stage preamplifier, the LL1 Signature.
Michael Fremer Posted: Jul 25, 2014 2 comments
A preamplifier is the port of entry through which you gain access to the sources you've so carefully assembled. It's also the gate through which all of your music passes. So while its sonic performance is obviously critical, you'd also better assess how it feels, how it looks, and how it operates—you're going to be in an intimate relationship with it for a long time. Before choosing a preamplifier, therefore, take some time to drive it around the block, or at least shake hands with it. Use your imagination as much as your ears.
John Atkinson Posted: May 27, 2014 Published: Jun 01, 2014 6 comments
A year or so ago, in my review of the Pass Labs XP-30 preamplifier, I wrote that the heart of an audio system is the preamplifier, in that it sets the overall quality of the system's sound. But it is the power amplifier that is responsible for determining the character of the system's sound, because it is the amplifier that must directly interface with the loudspeakers. The relationship between amplifier and loudspeaker is complex, and the nature of that relationship literally sets the tone of the sound quality.
Michael Fremer Posted: May 14, 2014 12 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.
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.
John Atkinson Posted: Mar 28, 2014 5 comments
In February 2013, I was taking part in a "Music Matters" evening at Seattle retailer Definitive Audio, playing some of my recordings and talking about my audio philosophy. I love taking part in these events—in addition to Definitive's, in recent years I've participated in evenings organized by North Carolina's Audio Advice, Colorado's Listen-Up, and Atlanta's Audio Alternatives—but, as might be obvious, at each one I use a system provided by the retailer. The February 2013 system comprised Classé electronics and, to my surprise, Bowers & Wilkins Nautilus loudspeakers.
Michael Fremer Posted: Mar 05, 2014 2 comments
Is the high-performance audio industry stagnating? Are designers simply repackaging the past? Cynics claim so, but to me it seems that making that case gets harder by the day, as a parade of veterans continue to produce their best work.
John Atkinson Posted: Feb 25, 2014 Published: Mar 01, 2014 8 comments
I well remember my first "real" headphones: a pair of Koss Pro4AAs that I bought back in 1970. The Kosses were relatively expensive, but, like headphones today, they allowed an audiophile with limited cash to get a taste of high-end sound that was not possible with a speaker-based system. I bought the Pro4AAs because I had become fascinated with how the images of the instruments and singers were strung along a line between my ears inside my head. It seemed so much more intimate—a more direct connection with the music—than playback through loudspeakers.
Michael Fremer Posted: Jan 04, 2014 Published: Jan 01, 2014 2 comments
More than a decade ago, Data Conversion Systems, aka dCS, released the Elgar Plus DAC, Purcell upsampler, and Verdi SACD/CD transport, for a total price of $34,000. In 2009 came the Scarlatti—a stack of four components for $80,000, also available individually (see my August 2009 review). The latest variation on the English company's theme are the four Vivaldi components, launched at the end of 2012 for a total price of $108,496.
John Atkinson Posted: Dec 30, 2013 Published: Jan 01, 2014 11 comments
Whereas the Pass Labs preamplifiers are designed by Wayne Colburn, the power amplifiers are the work of company founder and high-end audio veteran Nelson Pass, who even lays out his own circuit boards. The X-model amplifiers, beginning with the X1000 in 1998, were the first implementation of Nelson Pass's patented Supersymmetry topology (see "Nelson Pass on the Patents of Pass"). The XA series, which debuted in 2002, combined Supersymmetry with the single-ended class-A operation of the Aleph series. The XA.5 models offer detail improvements over the XAs.
Brian Damkroger Posted: Dec 05, 2013 1 comments
When I reviewed Simaudio's Moon Evolution 880M monoblock amplifier for the June 2013 issue, I communicated via phone and e-mail with the company's VP of marketing, Lionel Goodfield. When the topic of hearing the 880Ms at their best came up, I could almost imagine him shrugging as he said, "Just use it with the most transparent, revealing preamp you can find." Not surprisingly, he then went on to say that Simaudio's own Moon Evolution 850P would serve nicely in that role. My cynical side might normally have discounted any such suggestion from a marketing man, but I'd been hearing the same sort of thing from other sources. And, as it happened, there was an 850P at Stereophile World Headquarters . . .
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.
Michael Fremer Posted: Nov 07, 2013 4 comments
High-performance audio has always been and will probably remain a cottage industry perpetuated by talented and visionary individuals whose products reflect their singular visions and whose companies often bear their names, though of course there are notable exceptions. One of them is Constellation Audio. No single star dominates the appropriately named Constellation Audio, which arrived on the scene at the 2010 Consumer Electronics Show with a seemingly impossible debut roster of products: stereo and monoblock amplifiers, preamplifiers, digital file player/DACs, and phono preamplifiers, each category of component represented by members of two distinct lines: no compromise and some compromise.

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