John Atkinson

Sort By: Post Date | Title | Publish Date
Filed under
John Atkinson Posted: Apr 17, 2011 1 comments
I first heard the Voxativ Ampeggio speaker ($29,750/pair) at the 2011 Montreal Show, where I was gobsmacked by what I heard. In a beautiful, high-gloss enclosure from the Schimmell piano company was a single drive-unit with an old-fashioned "whizzer" cone that resembled but wasn't a Lowther unit, which is was loaded with a rear-loaded horn. Such designs offer enormously high sensitivity—the speakers at Axpona filled the room with sound using a Fi WE421A single-ended amplifier ($3275) that offered just 4Wpc for its single dual-triode output tube—but my experience with Lowthers is that they can sound equally enormously colored. But the Ampeggios, seen here with importer Gideon Schwartz, just produced the same uncolored, dynamic-sounding music in Atlanta as they had in Canada. I'll be driving up to Artie Dudley's in upstate New York in a few weeks to listen to and measure the Voxativs in his room. Intrigued by what I'll find.
Filed under
John Atkinson Posted: Jan 16, 2013 0 comments
The German Voxativ Ampeggio Signature by Schimmel loudspeaker ($32,500/pair) was Stereophile's surprise Product of 2011, wresting well-balanced sound from its single drive-unit. At the 2013 T.H.E. Show, designer Inès Adler showed her Ampeggio Duo ($100,000/pair), which still uses a single full-range drive-unit, but this time field-coil–energized and with a wooden cone, said to have the same mass as a conventional paper cone but 100x stiffer. The large, wide, piano-lacquered enclosure horn-loads the rear of the cone and the speaker is claimed to have a –3dB point of 25Hz. Driven by KR amplifications, the 100dB-sensitivity Ampeggio Duos produced the kick drum on Dire Straits' "Sultans of Swing" with surprising weight.
Filed under
John Atkinson Posted: Jun 26, 2011 1 comments
Art Dudley mentioned earlier in this show report the Audio Power Laboratories tube monoblocks driving Wharfedale's new Neo Airedale flagship loudspeakers ($25,000/pair). Source was a Musical Fidelity CD player, preamp an Audio Research, and the sound in this room was indeed one of the best at Axpona: extended lows, clean highs, and impressive dynamic range.
Filed under
John Atkinson Posted: Oct 20, 2011 0 comments
Zesto Audio was a name new to me, but their versatile Andros PS1 tubed MM/MC phono stage ($3900) was getting great sound from Billie Holiday's "Day In, Day Out," played on a Thorens TD309 player ($1900) fitted with a Dynavector DV-20X2L cartridge ($850). The rest of the system comprised a ModWright LS 100 tube preamp ($3495) and ModWright KWA 150 solid-state amplifier driving Fritz Carbon 7, Rev.5 speakers ($1795–$1950/pair), wired with WyWires.
Wes Phillips John Atkinson Posted: Nov 12, 2006 Published: Dec 12, 2006 0 comments
Wes Phillips on the Sessions
One of the enduring myths of audiophilia is that of the recording as a true and honest picture of a musical event—a sonic "snapshot" that captures a unique moment of time the way a photograph captures the light of a day long since past.
Filed under
John Atkinson Posted: Sep 16, 2006 0 comments
Neil Sinclair gave me a tour of Theta’s new multi-channel amp, which keeps the signal exclusively in the digital domain from the S/PDIF inputs to the PWM output stage, the latter said to operate at the super-high frequency of 1MHz. Designed by veteran amp engineer Dave Reich, what is in effect a powerDAC—that’s what it says on the output-stage printed circuit boards—will find its way, I hope, into some two-channel products in due course.
Filed under
John Atkinson Posted: Nov 29, 2012 22 comments
Thiel co-founders the late Jim Thiel (left) and Kathy Gornik (right) at the 2009 CES

We received the following press release last night. No more information was available and there was no word when this story was first posted on whether or not Thiel cofounder Kathy Gornik will remain with the company. Since then, however, CEPro.com has reported that Kathy and her daughter Dawn Cloyd, who was director of international sales, will both leave Thiel. Why the sale? Our suspicion is that while Thiel remains a great brand, it is too small a company, with no access to a significant source of capital, to be able to compete effectively in today's market.

John Atkinson Posted: Sep 15, 2002 0 comments
In the past year, Stereophile has reviewed a number of cost-no-object flagship loudspeakers. B&W's Signature 800, MartinLogan's Prodigy, Burmester's B-99, Snell's XA Reference Tower, Krell's LAT-1, Linn's Komri, Dynaudio's Evidence Temptation, Sony's ES SS-M9ED, and Rockport's Antares have all passed through the review mill. Manufacturers like to submit their flagships for review for a number of reasons, not the least of which is the pride they take in showing what their engineers can do when given a blank check. However, while all these models do indeed provide great (if different) sound for the tens of thousands of dollars they demand from their owners, they are out of reach of the majority of audiophiles. It is important, therefore, for reviewers to spend time with real-world designs; when I heard the $1990/pair CS1.6 from Kentucky's Thiel at the 2002 CES last January, I requested a pair for review.
Filed under
John Atkinson Posted: Jan 04, 2006 Published: Jan 05, 2006 0 comments
As a reader pointed out, missing from Wes Phillips' coverage of Wednesday's Thiel CS3.7 press conference was a picture of the new speaker. Here it is, pictured with Jim Thiel waxing lyrical about his new midrange diaphragm.
John Atkinson Larry Archibald Posted: May 06, 2007 Published: Jun 06, 1990 0 comments
John Atkinson Opens
I've said it before and I'll say it again: a would-be loudspeaker designer shouldn't even start to think about the possibility of maybe designing a full-range, multi-way loudspeaker until he (and they do all appear to be men) has cut his teeth on a small two-way design. There is still as much art as science in designing a successful loudspeaker, even with all the computer-aided this and Thiele-and-Small that, that even a two-way design requires a designer either to be possessed of a monster talent or of the willingness to undergo months, even years, of tedious and repetitive work—or of both. For a would-be speaker engineer to start his career with a wide dynamic-range, multi-way design, intended to cover the entire musical spectrum from infra-bass to ultra-treble, seems to me to be a perfect case of an admittedly well-intentioned fool rushing in where any sufficiently self-critical angel would fear to tread.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading