Audacious Audio

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John Atkinson Posted: Jul 02, 2012 8 comments
The phenomenon of the "singing flame" has been known since the 19th century. Place electrodes either side of a flame and, if you apply a high enough audio-modulated voltage to those electrodes, the ionized particles in the flame will cause it to emit sound. (Search YouTube for "singing flame" and you'll find many examples.) This principle was developed into a practical loudspeaker in 1946 by a French inventor, Siegfried Klein, who confined an RF-modulated arc to a small quartz tube, coupled it to a horn, and called the resulting speaker the Ionophone. An intense radio-frequency electrical field ionizes the air between inner and outer electrodes to produce a distinctive, violet-tinged yellow flame in the quartz combustion chamber. When the RF field is modulated by the audio signal, this causes the almost massless ionized flame to expand and contract in what should be a perfectly pistonic manner.
Fred Kaplan Posted: May 14, 2012 9 comments
Around the turn of the century, a review of the latest hair-raisingly expensive turntable would often begin with a soothing chant that, yes, the RotorGazmoTron XT-35000 is a tad pricey, but it will be the last piece of analog gear you ever buy—so go ahead, take the plunge. A dozen years later, pressing plants are stamping out LPs 'round the clock, and new high-end turntables are rolling off production lines at a respectable clip. So who knows whether today's Cassandras might be equally premature in bewailing the death of the Compact Disc? Which is to say that I can't in good conscience urge you to pay $12,000 for a CD player on the grounds that the medium's about to die, so splurge now while there's still something to splurge on. But if you have the scratch, and the itch for such a product, step right up and let me tell you about the Krell Cipher.
Michael Fremer Posted: Feb 14, 2013 Published: May 01, 2012 2 comments
At the 2012 Consumer Electronics Show, I spoke with Lyra's Jonathan Carr about the Atlas. He told me that, rather than having started as a blank sheet of paper, the Atlas is an outgrowth of the Kleos ($2995), which I reviewed in January 2011, when I thought it Carr's best balanced design yet, even if it didn't have quite the resolution of the Titan i. Like the lower-priced Delos ($1650, reviewed in August 2010), the Kleos included Carr's New Angle technology, which mechanically aligns the coils to be perfectly positioned relative to the front and rear magnets when the stylus is in the groove.
Art Dudley Posted: Apr 10, 2012 2 comments
The sound of the Stenheim Alumine loudspeaker—its openness, transparency, and freedom from temporal distortions, not to mention its good bass extension for such a small enclosure—reminded me at once of my favorite small loudspeaker from the late 1980s, the Acoustic Energy AE1. On reflection, the comparison is extraordinary: The two products are as different as night and day, the AE1 being a wooden loudspeaker with a metal-cone woofer, the Alumine a metal loudspeaker with a pulp-cone woofer. I suppose one can skin a catfish by moving the knife or by moving the fish.
John Atkinson Posted: Apr 06, 2012 0 comments
There is always a conflict between the needs of reviewers and the realities of the marketplace. Once a reviewer has invested his time and energy in a review, he would like that product to remain in production for all time, which would allow it to be used as a reliable recommendation forever. But whatever the product and whatever the category, sales of a product almost always follow the same triangular curve: a sharp rise at the product's introduction, a maximum reached sometime thereafter, and then a steady decline to a sustained but low plateau. Marketing-minded manufacturers therefore introduce a new model every three or four years, in hopes of turning that single triangle into a continuous sawtooth wave.
Michael Fremer Posted: Apr 06, 2012 7 comments
Take a casual look at the Mk.II edition of MBL's Reference 101E Radialstrahler loudspeaker, and you won't immediately see what's new compared with the original version, which I reviewed in October 2004. But the Mk.II has a shorter, sleeker bass cabinet, designed to, among other things, slightly lower the stack of omnidirectional drivers it supports. While the many other major revisions to this familiar and fascinating loudspeaker can't be seen, it's fair to say that, from the ground up, the Reference 101E Mk.II is a new loudspeaker in design, if not in concept.
Michael Fremer Posted: Mar 19, 2012 2 comments
As large as a small file cabinet and weighing 223 lbs, MBL's most powerful amplifier, the Reference 9011, is a tour de force of electronics design and implementation that will set you back $53,000 if you're a single-ended stereo enthusiast, or $106,000 if you like pure balanced mono.
John Atkinson Posted: Mar 08, 2012 1 comments
The Amati Futura is the third Sonus Faber loudspeaker to be called an Amati. The first, named simply the Amati and priced at $20,000/pair, was reviewed for Stereophile by Michael Fremer in June 1999. I reviewed the second, the Amati Homage Anniversario ($27,500/pair), in May 2006.
Brian Damkroger Posted: Jan 05, 2012 0 comments
Saying that Sutherland Engineering builds a nice line of phono stages is like saying that the Porsche 911 Carrera is a nice line of sports car. The Sutherlands all share common design philosophies, features, and sonic attributes—but just as ramping up from Porsche's classic Carrera Coupe ($78,000) to the GT3 ($115,000) or the Turbo S Cabriolet ($172,000) increases the level of performance and distills the Porsche experience down to its essence, ascending the Sutherland line from the PH3D ($1000) to the 20/20 ($2200) to the Hubble ($3800) buys more of what Ron Sutherland is all about.
Art Dudley Posted: Jan 05, 2012 2 comments
At present, my writing chores are divided between two fields: domestic audio and lutherie. Having invested considerable time in both, and having by now met a number of builders who are distinguished in one or the other, I can say with all confidence that the best share a simple, single point of view: Everything makes a difference.
John Atkinson Posted: Dec 30, 2011 Published: Jan 01, 2012 3 comments
High-end audio is in some ways a dynastic beast, though without as many "begats." One of the world's most successful loudspeaker manufacturers in the years following World War II was the Wharfedale company, from Yorkshire in the North of England. Wharfedale was founded by Gilbert Briggs in 1932, who in the 1950s handed over the reins of Technical Director to fellow Yorkshireman Raymond Cooke. Cooke left Wharfedale in 1961 to found KEF Electronics Ltd., where he subsequently appointed Goodmans designer Laurie Fincham as Chief Engineer in 1968. Fincham led a team of young engineers, including Mike Gough, who eventually joined B&W, and Yorkshire-born Andrew Jones, who became KEF's Chief Engineer in 1989, before Fincham was lured to Harman's Infinity division, in Northridge, California, in 1993. Jones followed Fincham across the Atlantic, where he worked on Infinity's Prelude, Overture, and Reference Series speakers, before joining Pioneer in 1997. The Japanese company had established a state-of-the-art speaker-design facility in Southern California, and Jones was invited to lead the design team.
John Atkinson Posted: Sep 02, 2011 10 comments
"That's just silly on so many counts, Antony."

I was talking last winter to Musical Fidelity's Antony Michaelson, who had been enthusing about his forthcoming stereo amplifier, the AMS100. It would be physically enormous—almost a yard deep—and commensurately heavy at 220 lbs. Despite its bulk, its maximum rated output would be just 100Wpc into 8 ohms. It would also be expensive, at $19,999. And to cock a snoot at environmentalists and their concerns, the AMS100's output stage would be biased into class-A up to its rated 8 ohm power, meaning that, even when not playing music, it will draw around 10 amps from a typical US wall supply of 120V. This also means that it will run very hot, making the amplifier impracticable for summer use in homes without central air-conditioning. Like mine.

Michael Fremer Posted: Aug 12, 2011 1 comments
That is not a typo. The company is named Soulution—as in soul commitment to designing and manufacturing the finest audio gear it knows how, as in souldiering on in the face of skeptics who can't imagine why a power amplifier that puts out 130Wpc into 8 ohms or 260 into 4 ohms should cost $45,000, or weigh as much as a small pickup truck.
Art Dudley Posted: Aug 10, 2011 2 comments
It wasn't so much a vow as a prediction: After selling my last pair of Ticonal-magnet drivers and the homemade horns I'd carted around to three different houses, I supposed I would never again have a Lowther loudspeaker in my humble house.

That remains literally true: The 7" full-range drivers to which I'm listening today are from a German company called Voxativ; the horn-loaded cabinets from which they play were also designed by Voxativ, and are made in Germany by the Wilhelm Schimmel piano company. And, with all due respect to Lowther, the 75-year-old English loudspeaker firm that launched a thousand DIY fantasies—not to mention a thousand very lively wavefronts—the Voxativ drivers and horns take the Lowther concept further than anyone else of whom I'm aware.

John Atkinson Posted: Aug 10, 2011 2 comments
"Good grief, has he lost his hearing?"

It was the distant past, a time so long ago that the M in MTV stood for Music, and I was watching a David Bowie concert on TV. The svelte singer was wearing what I took to be hearing aids.

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