John Atkinson

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John Atkinson Posted: Dec 21, 2003 Published: Dec 01, 2003 0 comments
Sony's first flagship Super Audio CD player was the two-channel SCD-1, reviewed by Jonathan Scull in November 1999. (The $5000 SCD-1 had balanced outputs; the cosmetically different but otherwise identical $3500 SCD-777ES had unbalanced outputs and was reviewed by Chip Stern in April 2001.) Sony's second-generation flagship player, the $3000 SCD-XA777ES, was reviewed by Kalman Rubinson in January 2002, and added multichannel capability with channel-level adjustment and bass management. Sony's third-generation flagship is the SCD-XA9000ES, also priced at $3000, which adds time-delay adjustment for its multichannel analog outputs and is presented in a smart new styling that Sony calls "Silver Cascade." The disc drawer and the most frequently used controls are on the angled top half of the brushed-aluminum front panel; in the lower half are the display, the headphone jack and its volume control, and the multifunction control knob.
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John Atkinson Posted: Oct 21, 2012 11 comments
One of the final rooms I visited at the 2012 RMAF was Sony’s. An as-yet-to-be-named floor-standing speaker was being demmed with Pass Labs amplification, Kimber Kables, and a Mytek DSD-capable DAC, taking data over USB from a laptop. The speaker has much in common with the superb SS-AR2 that I reviewed in October, but is shorter and, as can be seen from Jason Serinus’ photo, has an intriguing array of two supertweeters above and below the tweeter.
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John Atkinson Posted: Apr 17, 2012 0 comments
Sony’s Motoyuki (Yuki) Sugiura adjusts the volume on the Pass Labs preamp. Although the room was a bit too big for the SS-AR2s, the top-octave balance of the 1" soft-dome tweeter being optimized for a smaller acoustic space, these $20,000/pair speakers, derived from the SS-AR1 that so impressed Kalman Rubinson last July, produced one of the best sounds I heard at the 2012 NY Show. Despite the mellow balance, there was a wealth of recorded detail to be heard, with a huge, stable soundstage. Commendably for a speaker with a modest footprint, the sound didn't appreciably harden at high levels. I will be reviewing the SS-AR2 in the November issue of Stereophile.
John Atkinson Posted: Sep 27, 2012 Published: Oct 01, 2012 1 comments
A highlight for me of Stereophile's 2011 equipment reviews was Kalman Rubinson's report on Sony's SS-AR1 loudspeaker in July. I had been impressed by this unassuming-looking floorstander at the 2009 Rocky Mountain Audio Fest, when, courtesy Ray Kimber, I had used a pair for my "Loudness Wars" demonstration—and was equally impressed when I used another pair for a dem of my recordings at Massachusetts retailer Goodwin's High End, in summer 2011. The SS-AR1 costs $27,000/pair and combines a full frequency range with an uncolored, detailed midrange, sweet-balanced highs, and excellent dynamics. "The Sony SS-AR1 is an impressive loudspeaker," summed up Dr. Kal; "it brings the analytical capabilities of studio monitoring to the listening room." So when I learned that Sony had introduced a smaller, less-expensive version, the SS-AR2 ($20,000/pair), it took me less than the proverbial New York minute to request a pair for review.
John Atkinson Posted: Sep 06, 2013 0 comments
The door to a professional reviewer's listening room is one that revolves: As one product leaves, another enters. After a while, it becomes difficult to remember exactly when you auditioned any specific component. But some products stick in your memory—you fondly remember the time you spent with them, and wish they hadn't departed quite so quickly. With loudspeakers, I recall a few such: Revel's Ultima Salon2 ($22,000, footnote 1), MBL's 111B ($17,000), Dynaudio's Confidence C4 ($16,000), Sonus Faber's Amati Futura ($36,000), Vivid's B1 ($14,990), TAD's Compact Reference CR1 ($40,600 with stands), and even the much less expensive Harbeth P3ESR ($2195–$2395) and KEF LS50 ($1500). Among the most recently reviewed of those fondly remembered speakers is Sony's SS-AR2ES ($20,000).
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John Atkinson Posted: Sep 05, 2013 36 comments
It was like old times. A major consumer electronics company was presenting a press conference in a high-rent venue to introduce its new audio products. These events used to be commonplace; now they are rare. But on September 4, in Manhattan's Jazz at Lincoln Center, to an audience that included record company executives from Universal, Warner, and Sony Music, HDTracks' Norman and David Chesky, Chad Kassem and Marc Sheforgen from Acoustic Sounds, whose new DSD download store was last week's big news, musician Herbie Hancock, and veteran mastering engineer Mark Wilder, Phil Molyneux, President and Chief Operating Officer of Sony Electronics since September 2010, announced that the company saw high-resolution audio as the future of recorded music playback.
John Atkinson Posted: Jun 08, 2012 0 comments
This diminutive floorstander was one of my best sounds at April’s New York Show, and the same speakers at the Newport Beach Show sounded equally fine, driven again by Pass Labs electronics via Kimber Kables, despite the air-walled ballroom in which they were set-up: a huge, superbly defined soundstage, uncolored mids that worked magic on vocals and on Cookie Marenco’s solo violin recording (see next story), and overall a somewhat sweet balance. I am working on a review of this speaker, to be published in the fall.
John Atkinson Posted: Jul 10, 2011 4 comments
"Where's the tweeter?" I asked after a listen to the 97dB-sensitive Soundfield speakers, shown at Capital AudioFest in prototype form. It turned out the top drive-unit is a 12" coaxial unit, with the HF unit mounted where the dust-cap would be. "So the big-ass 18" dipole unit is the subwoofer?" No, it was explained, the18" unit in the speaker's center, behind the grille, is the woofer, covering the range from 50–200Hz. The bottom 12" unit, mounted in a sealed enclosure is the subwoofer, handling frequencies below 50Hz. With the coaxial and 18" drivers operating as dipoles and the bottom12" unit omnidirectional, by varying the crossover between the low-frequency drivers, the speaker's radiation pattern can be made cardioid in the region where room acoustics might benefit. I had seen a cardioid subwoofer designed by Ken Kantor many years ago at a CES, and had wondered why no-one else had experimented along these lines.
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John Atkinson Posted: Jan 22, 1990 0 comments
"Hoom! Hoom-hoom! HOOM!"
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John Atkinson Posted: Jan 11, 2006 1 comments
A line of speakers that impressed me when I auditioned them at the 2004 London Show was the Vivids, from South Africa. Designed by Laurence "Dick" Dickie, the engineer primarily responsible for B&W's groundbreaking original Nautilus design back in the mid-1990s, the Vivid speakers use proprietary metal-diaphragm drivers in enclosures formed from composite materials rather than wood. Seen here in one of the Audiophile Systems rooms, with VTL amplification and dCS's new P8i SACD player (review forthcoming), the Vivid B1s produced a clean, open sound. It was announced at CES that Vivid is being distributed in the US by Musical Surroundings.

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