John Atkinson

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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.
John Atkinson Posted: May 14, 2006 0 comments
Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the Sonus Faber Amati Homage loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (reviewed by Martin Colloms in July 1994), while the third was the Stradivari Homage (reviewed by MF in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.
John Atkinson Posted: Dec 17, 2007 0 comments
It is the audio writer's nightmare that the combination of the large number of exhibitors at a Consumer Electronics Show and the very limited amount of time the Show's doors are open will lead him to miss the event's biggest story. I came close to living that nightmare last January, at the 2007 CES, when I realized that I had missed an entire floor of Las Vegas's Venetian Hotel. And it was, of course, the floor where, among other high-profile high-end companies, Sumiko was debuting the Cremona Elipsa from Italian speaker manufacturer Sonus Faber.
John Atkinson Posted: Mar 14, 2004 Published: Mar 01, 2004 0 comments
"The Sonus Faber Cremona is the finest cabinet-built speaker I have heard for under $10,000/pair," wrote the usually reticent Sam Tellig in the January 2003 Stereophile. "Bravissimo...Molto, molto bene" he added to his paean of praise for the Italian speaker manufacturer's founder and chief engineer, Franco Serblin.
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John Atkinson Posted: Apr 07, 2011 2 comments
I had to make several attempts to visit the Son-or-Filtronique room featuring Sonus Faber's new Amati Futura speakers ($34,000/pair), but the line of would-be listeners patiently waiting outside the room was daunting. The Futuras were launched at last January's CES but not being demmed; at SSI, they were being driven by a Boulder 2060 amplifier, with a dCS Scarlatti and Boulder 1021 used as digital sources.
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John Atkinson Posted: Jan 14, 2007 0 comments
Covering a Show as large and as geographically diffuse as the CES invariably leads to moments of writer brainfade. I auditioned Sonus Faber's new Elipsa loudspeaker in the Sumiko suite at the Venetian on Tuesday evening just before the Show closed but had run out of space on my camera's memory card. Back in my hotel room Thursday evening, after the Show had closed until January 2008, I found my note to myself on my PDA reminding me that I needed to take the Elipsa's photo for this report. So words will have to suffice, I am afraid, as well as a link to Sonus Faber's website.
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John Atkinson Posted: Oct 21, 2012 1 comments
Styled to resemble Sonus Faber’s cost-no-object “The Sonus Faber” flagship design, the new Sonus Faber Venere range of speakers made its debut at RMAF. Costing $2498/pair, ie, around less than 2% of the big speaker’s price, the Venere 2.5 was demmed with an Audio Research DSI200 class-D integrated amplifier ($5995), a Wadia Model 121 decoding computer ($1299), a Pro Ject Xtension turntable with Sumiko Blackbird cartridge ($3699) a Pro Ject Phono Box ($999), and Pro Ject’s new Stream Box ($1999). The LP of Jeff Buckley’s classic album Grace was reproduced with appropriate impact and a color-free tonal balance. Even considering the relatively affordable price of the system, this was still one of the better-sounding rooms I heard at RMAF.
John Atkinson Posted: Dec 02, 2007 Published: Sep 02, 1996 0 comments
Conventional wisdom has it that large Japanese corporations are insular. But when it comes to audio, Sony bucks the conventional wisdom as much as it does in pretty much everything it does. In Europe, the company has long had an excellent reputation for producing loudspeakers using local design talent, so I wasn't surprised to see Sony launching a line of American-designed and -made speakers at Stereophile's 1994 High-End Hi-Fi Show in Miami. Stereophile writer Barry Willis came away from that Show raving about the Sonys: "What we heard was gorgeous, absolutely beautiful: rich, warm, and deep, with a seductive midrange, a shimmering, delicate, grain-free top-end, and a soundstage to die for," he wrote about the sound of the three-way SS-M7 in Miami (footnote 1), 1 concluding that "WATT/Puppy performance is now available at Vandersteen prices in an American-made loudspeaker sporting a Japanese badge."
John Atkinson Posted: Aug 12, 2001 0 comments
The occasion was the 1999 Consumer Electronics Show, and I had sought out the Sony suite at Bally's—the word in the Las Vegas bars where audio journalists hung out was that Sony was demonstrating the production version of their SCD-1 Super Audio CD player. I was glad I'd made the trek along the Strip: As I reported in the May 1999 Stereophile, the sound of a DMP recording—of unaccompanied choral music recorded and mixed in DSD by Tom Jung—was breathtaking, I felt, with an exquisite sense of space. It was definitely the best sound at the CES.
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John Atkinson Posted: Jan 13, 2011 1 comments
Sony has a track record of sporadically producing high-quality loudspeakers, like the SS-M9 that I reviewed in 1997. But as good as these speakers could be, their commercial success was limited. But at the last two Rocky Mountain Audio Fests, Ray Kimber had been getting great sound with a prototype Sony floorstander and the 2011 CES saw the official launch of the Sony SS-AR1 ($27,000/pair).

A three-way design, the SS-AR1 uses Scanspeak drive-units made to Sony's specification, housed in a unique, Japanese-made enclosure. Seen here standing next the basic enclosure, designer Yuki Sugiaro explained that the walls are made from Finnish birch ply and the front baffle from maple ply. The latter is sourced from trees grown in Hokkaido.) The woodworking is so precise that the cabinet shown here is holding itself together without any glue (thoigh glue, of course, is used on the production line).

Driven by Pass Labs amps and an EMM SACD player, the SS-AR1s were demmed in too small and crowded a room for me to pronounce on their sound quality, other than to note that the midrange seemed exceptionally clean and uncolored. But my prior experience at RMAF suggests that this will be a contender.

Availability is said to be "spring" and Sony announced that they have already signed up blue-chip US dealers like Goodwins, Definitive, David Lewis, and Music Lovers.

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