Sad news this week: We heard from Ken Kessler of the passing of legendary UK engineer Stanley Kelly, who died in his sleep on November 13, after suffering a stroke the previous week. Stan would have been 89 next month. While he was, of course, the "Kelly" of the classic Kelly Ribbon Tweeter, he was also one of the founders of Hi-Fi News and was the only person to have been listed on the English magazine's masthead since Vol.1 No.1, the June 1956 issue. In recent years, Stan had developed a series of high-sensitivity speakers for UK manufacturer Musical Fidelity.
Steinway-Lyngdorf's S-Series loudspeaker is tiny, at just 10.2" H by 7.8" W and 3.1" D. (My apologies for the grainy photo but the battery in my camera gave out and I had to resort to my iPhone 3GS for this shot.)
After Peter Lyngdorf left Tact, he went into partnership with the Steinway piano company to make a line of expensive speakers aimed not at audiophiles but at well-heeled music lovers. I was impressed by what I heard of the first of this line, which incorporates Lyngdorf's RoomPerfect acoustic correction, when I auditioned it in Manhattan a couple of years back, so I wasn't surprised when Steve Guttenberg button-holed me and told to go listen in the SteinwayLyngdorf room at Axpona.
The S-Series subwoofer-satellite system ($22,100) was producing a big sound with the tiny satellites stood on a credenza against the wall behind them. Incorporating RoomPerfect correction, the speakers also use digital signal processing to produce a flat response, which Peter Lyngdorf explained allowed him to optimize the drive-units for maximum sensitivity. The two small subwoofers were placed in the room corners, with a crossover frequency (depending on the room correction necessary) around 200Hz
The accuracy of a hi-fi system's "soundstage" reproduction seems to be of paramount importance these days, just as a component must now have "transparency" to possess hi-fi righteousness. If the system in which that component is used doesn't give good soundstage, then the system's owner has definitely fallen by the wayside. But what defines a good soundstage? Stereo imaging must have something to do with it, I hear you all cry. (I would have said stereo imagery until Larry Archibald pointed out that imagery has far less to do with hi-fi than with good writing, something I'm sure we agree has no place in a hi-fi magazine.) OK, what defines good stereo imaging?
The people at Manhattan high-end audio retailer Stereo Exchange know how to throw a party. They proved it back in April with their Spring Fever event, and they look to surpass the success of that outstanding evening with their 25th Anniversary Celebration, this Thursday, November 5, from 39pm.
Stereophile's senior contributing editor, Michael Fremer, and the magazine's editor at large, Art Dudley, are both giving presentations this spring at Cornell University in Ithaca, NY. Michael appears on Tuesday, March 28, followed two weeks later, on April 11, by Art Dudley.
The CES is traditionally where we give awardees their well-deserved Products of the Year awards. Here is the complete line-up for 2013, waiting in the Stereophile room at the Venetian, just before the show started on Tuesday January 7.
After several years of collaboration with Lew Johnson and Bill Conrad with McCormack Audio, Steve McCormack went it alone a year or so back with SMc Audio. He was demming SMc's first product at RMAF, the $6800 VRE-1 line preamplifier ("VRE" stands for "Virtual Reality Engine"). The solid-state design uses Lundahl and Jensen coupling transformers and uses J-FETs in a zero-feedback circuit. Unusually, it dispenses with the otherwise ubiquitous solid-state voltage regulators in its power supply. Instead, it uses a choke-smoothed voltage rails, which Steve feels eliminates any trace of "transistor" sound. Next to come will be a matching phono stage.
Getting a name check from the mainstream press can be a good thing. But as Wes Phillips wrote in his blog on February 5, "to paraphrase Mason Williams on winning an Emmy Award, 'It's like being kissed by a girl with bad breath—you appreciate the honor, but...'"
It was the road signs alongside I-44 that first caught my attention, each with its twin supports neatly snapped halfway up. Then I saw the outlet center east of Oklahoma City, smashed flat as if struck by the mother of all baseball bats swung by a careless god.