In an ideal world, I'd have every phono section I've reviewed in the past 16 years on hand to compare with these three and with all that arrive in the future. But because I have a life, I don't, and I wouldn't even if I could, though some readers (and one retailer) have insisted that that's the only way that I could possibly be of any use to them. Ha! And for those who are concerned that I've neglected the Manley Steelhead, not so! It's still my reference.
Rarely has the debut of a new loudspeaker company and its inaugural model created as big a buzz as did Lumen White and their Whitelight speaker at the 2001 Consumer Electronics Show. Driven by Vaic tube amplifiers in one of the larger corner rooms at the Alexis Park Hotel, the big Whitelights had a look and a sound that attracted continuous crowds. Of the questions among audio cognoscenti that I overheard at the end of each day, two of the most common were "Hey, did you hear those Lumen Whites?" and "What? Can you speak louder?"
Antares is a giant red star in the constellation Scorpio. According to Rockport Technologies' Andy Payor, the $41,500/pair Antares loudspeaker is the "ultimate" reasonably sized, full-range loudspeaker, and is built to a standard "unequaled in the industry." Rockport's $73,750 System III Sirius turntable came with equally boastful claims that turned out to be anything but hyperbole. Has Rockport done it again with the Antares?
It's not every Consumer Electronics Show that someone introduces a $29,000 solid-state phono preamplifier—and I miss it. The 2002 CES was one. My show report in the April issue made it seem as if I'd found out about it there, but the fact is, someone clued me in after I'd returned home. I needed to come clean on that.
When I first laid eyes on the Paravicini M100A monoblock power amplifiers at the Consumer Electronics Show in January 2001, an audiophile in the room squinted at my badge and cried out, "Hey, J-10, these amps have your name written all over 'em!"
The VTM200 is the first Audio Research power amplifier I've reviewed. It took me 13 years, and ultimately I'm glad I'd put that much mileage on my reviewing odometer before tackling what turned out to be a most difficult assignment.
I can't resist reading about a company's flagship loudspeaker—the price-no-object product that embodies the most advanced ideas from a company's research and design department. Flagship loudspeakers tend to be large, heavy, and complex, and are designed to perform best in large rooms; often, each part of each driver is hand-built to the highest level of quality, with precisely tight tolerances. The cost? Don't ask. Some two-channel, audio-only flagships cost more than a BMW M5 sports sedan or a Porsche 911.
Based in the Czech Republic, KR Enterprise is headed by an occasionally gruff Dr. Riccardo Kron and his American-born wife, Eunice, who operate the company out of a partially abandoned factory that was once part of the state-owned Tesla High Vacuum Technology facility in Prague. The Swiss-funded company is unique in that it manufactures both amplifiers and the tubes that power them. KR's tubes have found favor with other amplifier makers as wellespecially the 300BXS, electrically identical to a standard 300B but rated at 25W in class-A.
It's been five years since David Wilson's X-1/Grand SLAMM speaker system invaded our audio consciousness with its 500W power capacity and very high (95dB/W) sensitivity (footnote 1). Capable of an earsplitting 123dB at 1m, with a bandwidth to match, this was one speaker system that refused to be ignored. The X-1 has since evolved to $70,000/pair Mk.II form. It now provides some flexibility of tonal balance for different room acoustics, and is distinguished by greater subtlety in its differentiation of timbre. Beneath the X-1 in Wilson's range comes the WATT/Puppy ensemble, now in its 5.1 iteration (footnote 2). The WATT/Puppy has survived for over 10 years, and sets a benchmark for the Wilson line at its $17,270 system price.
Really Big Hi-Fi came to live with me for a couple of months this past spring in the form of a pair of Tannoy Churchill loudspeakers. They were trucked directly to San Rafael, California from Kitchener, Ontario, in flight cases so bulky they could double as coffins for NFL offensive linemen. Once ensconced chez moi, the Tannoy dreadnoughts provoked bewilderment, alarm, curiosity, envy, admiration, awe, and amazement in all who heard and saw them.
Though the original Artemis Systems Eos has been around for a few years, it doesn't seem to have made a big impression on audiophiles. Judging by a brief but exciting audition of the new Eos Signature and its accompanying Base Module at HI-FI '96, I found it hard to understand how it could remain such a well-kept secret. A few weeks later, to my surprise, Wes Phillips asked me if I wanted to review a pair and, throwing caution to the winds, I jumped at the opportunity. Rash move.
The movers delivered three large boxes and two absolutely huge crates. Inside the boxes were the two Eos Signatures and their external crossovers. Each crate contained a Base Module, and their appearance struck fear into my heart. I had gone too fareach one weighed 300 lbs, and together they were more commodious than some apartments in my Manhattan neighborhood. I signed for the delivery, then panicked when I realized there was no way to get these unpacked before my wife came home. Indeed, I didn't know how I was going to do it at all.
I'm about to out Yves-Bernard André as one of the great unknown tweakers of high-end audio. (My own predilection for stepping into uncharted tweakwaters is well known.) Yves-Bernard, his wife and partner Ariane Moran, and importer/distributor Daniel Jacques of Audio Plus Services seemed perfectly sanguine about letting the cat out of the bag. And why not? In a singular way, the YBA audio solution encompasses both the supertweak and the more-casual-about-equipment music lover.
The YBA CD 1 Blue Laser (or Lecteur CD 1, as it's known at home in France) breaks new ground. It is very French in that it's individualistic in the extreme, and perfectly embodies current thinking chez YBA regarding music playback in the home. Its design dates back to 1991, a point Yves-Bernard takes pains to point out in the manual.
Most reviewers look for a "hook" or angle of some kind when it comes time to write a review. After all, how many ways are there to get excited about audio equipment? Kathleen and I like to focus on the human side of the High End. So it was with some amusement that I watched the obstacles swirl around what I thought would be a fairly straightforward review of the Vacuum Tube Logic MB-1250 Wotan monoblock power amplifier. My thought was to return from single-ended to push-pull with a bang! I'll say...
It all began at the January 1996 WCES, where I found my shorts positively welded to the listening chair during a memorable musical blast at VTL. Luke Manley and his extreme audiophile wife Bea had a good thing going and they knew it. People were talking. "Did you hear those monster two-storey VTLs on the Alón Vs?"
In this age of $70,000-plus "flagship" designs, perhaps $25k is no longer an obscene amount to pay for a pair of loudspeakers. Still, it's mucho dinero. What makes a speaker worth this kind of bread? Does the product's intrinsic value really warrant such a lofty cost, or is it merely a matter of pricing at what the market will bear? The answers to these questions requires careful examination of not only the speaker, but also of the buyer's own soul, priorities, and pocketbook.