One of my two best sounds at RMAF was from Revel's Ultima Salon2 speakers ($22,000/pair), which have been favorites of mine since Larry Greenhill's review appeared in the June 2008 issue of Stereophile. At RMAF, the Revels were being driven by Mark Levinson No.53 monoblocks ($25,000/pair), which in turn were being fed straight from the variable output of a Mark Levinson No.512 SACD player ($15,000). Cabling was all-Transparent. The superbly stable soundstaging extended beyond the physical positions of the speakers, the tonal balance was one of the most neutral I heard at the Show, and the bass was both extended and defined. I would have stayed listening for longer, but the Show only had 30 minutes more to run and I had two more rooms to visit.
Loudspeaker lore has it that a "good big'un will always beat a good small'un." But my experience has been that the traditional wisdom is often wrong. Price for price, large speakers often have larger errors compared with minimonitors, the smaller speakers offering more rigid cabinets, better-defined stereo imaging, and, because the owner can experiment with stand height, a better chance of being optimally sited in a room. So while I was as impressed as Stereophile reviewer Kalman Rubinson with what I heard from the floorstanding, $3500/pair Revel Performa F30 (footnote 1) when we visited the Revel facility in California's San Fernando Valley in spring 2000 (footnote 2), it was the big speaker's smaller sibling, the $2000/pair Performa M20, that caught my eye—and ear.
A dream I have had since I discovered the pleasures of music is to possess a time machine. Not a fancy one, just a small device that would allow me to escape modern music-making and drop in to hear what must have been some of the greatest musical experiences of all time. Classical music presents no problems: Off to 18th-century Leipzig on Sunday, of course, to hear J.S. Bach play the organ in church, after an early 19th-century Saturday evening spent in Vienna listening to Beethoven improvising at the pianoforte. During the week it would still be Vienna, but forward 80 years or so to hear Brahms premiere one of his chamber works after afternoon cocktails at the Wittgensteins', with perhaps a trip to England's Three Choirs Festival just before the Great War to hear the first performance of Elgar's Dream of Gerontius. And the time machine would have to have transatlantic range—I couldn't miss Mahler conducting the New York Philharmonic around the same time. But with jazz and rock—music that is reborn every time in performance to a greater extent than in classical—there is a bewildering choice of live events from which to choose.
Way back in the mists of time, around 1980 to be exact, the Marantz company in Europe introduces a range of ostensibly cost-no-object solid-state electronics under the "Esotec" banner. Manufactured in Japan, but apparently designed in the USA, these ruggedly constructed components are noteworthy in that the power amplifiers are capable of being operated with the output stages running under class-A bias as well as class-B. The relatively expensive Esotec amplifiers sell in small numbers in the UKremember that this is before the rebirth of the British high endand pass into the history books. I am reminded of them, however, when I visit my friend Ivor Humphreys of Gramophone magazine at Christmas 1987; he is using a pair of the 30W mono class-A Marantz amplifiers to drive KEF R107sand making very nice sounds.
We received the following email this afternoon. Sad, sad news. I shall remember the Richard Beers of unlimited energy and enthusiasm, pictured above at the 2013 T.H.E. Show in Newport Beach, CA. Richard made audio shows fun for allexhibitors, press, and most all audiophiles of every persuasion. We’ll miss you, Richard.John Atkinson
Dear Industry Friends,
My name is Maurice Jung and I am the interim President for T.H.E. Show Newport. It is with heartfelt sorrow that I must inform you of the passing of Mr. Richard Beers. . .
We were saddened to hear of the death of loudspeaker designer Bobby Palkovic, apparently by his own hand. We had published positive reviews of Bobby's Merlin speakers, including one of his VSM Millennium design and the VSM-MX at www.stereophile.com/floorloudspeakers/439/index.html. Following is the news posted to Facebook by Bobby's friend, Rich Brkich of audio retailer Signature Sound...
My dogs were killing me. It was the end of the second day of the 1985 Summer Consumer Electronics Show, which I was visiting on behalf of English magazine Hi-Fi News & Record Review. I had been dutifully tramping the capacious corridors of Chicago's McCormick Center and the rooms of the (now demolished) McCormick Inn, looking for signs of musical life amid the huge promotion for the 8mm tape format, which was being heavily touted at CES as the future of both video and audio (!) reproduction. Even trade-paper headlines shouting "Audio: Not Just Video Peripheral!" failed to lift my spirits as I took the shuttle bus over to the Americana Congress hotel on South Michigan, where most of the high-end audio companies were hanging out.
Nola's Carl Marchisotto was demonstrating the Studio Grand Reference Gold floorstanders ($19,800/pair) when I entered his second-floor room. This new speakers is similar in concept to the Metro Grand Reference Gold ($33,000/pair) that I review in our November issue but has just one of the reflex-loaded SEAS magnesium-cone/alnico-motor woofers rather than two. But Carl wanted me to hear the new Nola Brio desktop ($995/pair), which he is holding in the photo and describes as a one-and-a-half-way design. The Brio has two 3.5" cone drivers, one of which is reflex-loaded, the other open-baffle.