Audacious Audio

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Michael Fremer Posted: Dec 13, 2010 2 comments
The old Saab slogan, "Find Your Own Road," was so good that the old General Motors, which once owned Saab, had to kill it—just as the newly revived GM tried, in a "Call It Chevrolet" memo, to kill "Chevy." GM did a U-turn on that one the very next day, but "Find Your Own Road" never returned, and is available for Ayre Acoustics to use. I can't think of a better slogan for a company that I admire almost as much as I do Saab.

Consider this: While Ayre calls its new DX-5 ($10,000) a "universal A/V engine," the disc player doesn't have a coaxial or a TosLink S/PDIF input. That appears crazy to me, but to Ayre, no. They've found their own road.

Michael Fremer Posted: Nov 15, 2010 2 comments
Show a time traveler from the 1920s an iPad and most likely he'd neither know what he was looking at nor what it might do. Show him a loudspeaker, even one as advanced as Magico's new Q5 ($59,950/pair), and he'd probably know exactly what it was and what it did, even if what it's made of might seem to have come from another planet.
Michael Fremer Posted: Oct 31, 2010 0 comments
Ideally, LPs should be played with the pickup stylus remaining tangential (ie, at a 90° angle) to the groove—just as the lacquer from which the LP was ultimately stamped was cut in the first place. Over the years, many attempts have been made to accomplish this. Back in 1877, Thomas A. Edison's original machines tangentially tracked his cylinders, but Emil Berliner's invention of the flat disc put an end to cylinders altogether. In the 1950s, a number of companies marketed so-called "tangential" trackers that used dual arms, based on conventional pivoting arrangements, to change the angle at which the headshell was mounted as it moved across the LP side. In 1963, Marantz introduced the SLT-12, which used a plastic pantograph to move the stylus across the record surface. Garrard's Zero 100 pivoting arm controlled its independently pivoting headshell with a bar that extended from the main bearing of the tonearm.
Michael Fremer Posted: Nov 09, 2010 Published: Oct 18, 2010 0 comments

It doesn't take a genius to appreciate the audacity of naming a company after Albert Einstein, the iconic science and math whiz. Clearly, company founder and owner Volker Bohlmeier knew what he was doing—this German brand of boutique electronics has enjoyed worldwide critical and marketplace success since its founding more than 20 years ago.

Art Dudley Posted: Oct 18, 2010 0 comments
If you've followed their story here and elsewhere, you probably know that Tokyo's Shindo Laboratory (footnote 1) has a reputation for defying the two most monolithic of all high-end audio commandments.
John Atkinson Posted: Sep 27, 2010 3 comments

Stereophile's founder, the late J. Gordon Holt, always had a thing for horn loudspeakers, feeling that these archaic beasts offered a "jump factor" that could never be rivaled by conventional, direct-radiating designs. A horn drastically increases the efficiency with which electrical power is converted into acoustic power, which means that for a given sound-pressure level, a smaller amplifier can be used compared with a direct-radiator, and that all distortions, both electrical and mechanical, can theoretically be much lower. Yet outside of a small circle of enthusiasts, horns never got much of a following in high-end audio, and as high amplifier power became plentiful and relatively cheap, horns largely disappeared from domestic audio use (except in Japan).

Michael Fremer Posted: Sep 23, 2010 Published: Jul 23, 2010 0 comments
This massive, two-box beauty from Denmark costs $60,000, and I wish I could tell you it wasn't really better in most ways than the already outlandishly priced and sonically superb Boulder 2008. I can't.
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).
John Atkinson Posted: Jul 19, 2010 0 comments
Considering that the crates they're shipped in are each as large as a Manhattan studio apartment, once they'd been set up in my listening room, Focal's Maestro Utopia III speakers weren't as visually overpowering as I'd anticipated. The elegant dark-gloss front baffles, the gloss-gray side panels, and the fact that the speaker's three subenclosures are vertically arrayed so that the top, midrange section is angled down, significantly reduced their apparent size.
Wes Phillips Posted: Jul 12, 2010 1 comments
Over the years that I've been reviewing hi-fi, I've had my share of loudspeakers that drew comments from everyone who visited during the audition period. Some of those comments were about the speakers' appearance—most often about their size—and some were about how good they sounded. Vivid's G1Giya loudspeaker ($65,000/pair), its narrow-baffled, swirling cochlear shape molded from fiber-reinforced composite, elicited more comments of both types than has any other speaker I've reviewed.
Michael Fremer Posted: Nov 07, 2010 Published: Jul 07, 2010 0 comments
Why bother with three phono preamps most of us can't afford? For the same reason the enthusiast automobile magazines cover the newest Ferraris and Lamborghinis: just reading about them is fun.
Michael Fremer Posted: Jul 06, 2010 0 comments
Why bother with three phono preamps most of us can't afford? For the same reason the enthusiast automobile magazines cover the newest Ferraris and Lamborghinis: just reading about them is fun.
Brian Damkroger Posted: Jun 16, 2010 0 comments
Spiral Groove's new Centroid tonearm ($6000) arrived just a few days before press time, so it would be risky to say anything definitive about it. But I will take that risk: using the system described in my review of the SG2 turntable, this may be the best tonearm I've heard. Its sound is different in ways that will open people's ears, and I predict that it will affect the design of every tonearm from now on. The Centroid's design deserves and will await full coverage in its own review, but here are the basics: It's a fluid-damped unipivot design unlike any other that gives the user fine adjustment of all relevant parameters.
Brian Damkroger Posted: Jun 14, 2010 0 comments
Photograph: TONEAudio Magazine

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good—just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

Michael Fremer Posted: May 15, 2010 0 comments
Musical Fidelity's Tri-Vista kWP, introduced in 2003, was an impressive, high-tech, "statement" audiophile preamplifier. Its outboard power supply weighed almost 56 lbs—more than most power amplifiers—and its hybrid circuitry included miniature military-grade vacuum tubes. As I said in my review of it in the January 2004 Stereophile, the kWP's chassis and innards were overbuilt, the measured performance impressive, and any sonic signature imposed on the signal was subtle and, essentially, inconsequential.

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