Loudspeaker specialists Magico were on hand with their recent Q3 ($38,950/pair), which boasts a 90dB sensitivity rating and 5 ohm nominal impedance: not quite SET territory, but easily the California firm's most sensitive speaker yet. Magico rep and fellow bluegrass fan Irv Gross put the Q3 through its paces for me; I was impressed with its speed, scale, drama, and sheer gripnot only in the lowest frequencies but all the way up through its well fleshed-out treble range.
I know from conversations with other reviewers that this sort of thing happens all the time: Something new comes alonga product from a company we've never heard of, a technology we've never encountered before, whateverand when we're impressed, we end up wondering if the thing is really as good as we think. We're insecure, just like you (footnote 1).
At present, my writing chores are divided between two fields: domestic audio and lutherie. Having invested considerable time in both, and having by now met a number of builders who are distinguished in one or the other, I can say with all confidence that the best share a simple, single point of view: Everything makes a difference.
Sony Electronics launched their new SS-AR2 loudspeaker ($20,000/pair), seen here with the X600.5 mono amplifiers from Pass Labs. The SS-AR2 is a three-way, four-driver floorstander that’s crafted from select Japanese maple laminate (the front baffle) and Finnish birch plywood (the remainder of the cabinet). Twin aluminum-cone woofers are said to extend bass response down to 42Hz.
"We put music in the souls of our amplifiers. Every amplifier, every tube, every transformer has music in its soul."
Not to be cynical, but I've heard, over the years, countless variations on that sentiment. Not to be naïve, but it rang with somewhat-greater-than-usual sincerity when given voice by 45-year-old Richard Wugangfounder, with his late father, of Virginia-based Sophia Electric, Inc.
Andy Singer, the retailer whose name and likeness have come to epitomize the high-end audio scene in New York City, brought two complete systems to the New York Audio Show, the more ambitious of which was built around the Verity Amadis loudspeaker ($30,000/pair). This three-way design uses a separate enclosure for its reflex-loaded woofer, which is then separated from the midrange/high frequency enclosure by means of a specially damped aluminum platform. Fed by a Playback Designs MPS-5 D/A converter with CD/SACD drive ($17,000) and driven by the VAC Statement Mk.IIA preamp ($19,000 including phono section) and VAC Statement 450S stereo amp ($39,000), and with Nordost cabling throughout, the Verity Amadis sounded open, clear, and nicely textured.
In late 1996, as Listener magazine entered its third year of existence, the Spendor SP100 became my reference loudspeaker, and would remain so for a considerable time. My decision to try the SP100 was influenced by John Atkinson's review of its antecedent, the nearly identical Spendor S100, in the December 1991 issue of Stereophile. But my purchase decision came down to two things: The SP100 did virtually everything one could ask a modern loudspeaker to do, requiring in the process far less amplifier power than usual. Just as important at the time, it sold for only $3300/pairwhich explains how I could afford them on the spotty salary of a teacher turned fledgling publisher.
I'm never more conservative than when the subject turns to home audio. And at the end of the day, I want little more than to preserve the hobby's finest institutions: Alnico magnets. Parchment cones. Mono. Sonata form. Ballads that actually tell stories. Give me tubes. Give me vinyl. Give me thin-walled hardwood cabinets, obsolete tweeters, and handmade polypropylene woofers. Give me the Spendor BC1.