Art Dudley

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Art Dudley Posted: Apr 14, 2012 0 comments
Robin Wyatt of Robyatt Audio did something that hadn't been done at a major audio show in decades: He demonstrated with a pair of Quad ESL loudspeakers—creating, in the process, the sort of sound that led my weak and easily led brain to conclude that I was hearing the best sound of the show within my first hour of attendance. The ESLs, which had been restored by Quad expert Wayne Picquet (also in "Listening" columns passim), were driven by a pair of Miyajima OTL 2010 amplifiers ($10,000 each), which provide 22Wpc when used as monoblocks with their defeatable feedback circuits enabled. Wiring was by Tel Wire. The preamp was a one-off custom unit by fellow upstate New Yorker Charles King, and the sound, apart from the fact that the Quads made a little too much bass (!) for the squarish room, was glorious.
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Art Dudley Posted: Apr 18, 2013 2 comments
One of the most talked-about exhibitions at NYAS 2013—and, indeed, one that impressed me more than most—was by a newish company called Symbol Audio, specializing in heirloom-quality furnishings that are aimed, it must be said, at non-audiophiles possessed of both good jobs and good taste. The centerpiece of Symbol's room was their Modern Record Console, which combines a high-quality record player from Project, a built-in Apple MacMini with a Meridian Explorer D/A converter, a tubed (push-pull EL84s) integrated amplifier by ENG Vista (with source selections for phono, D/A, and WiFi), and a pair of Omega full-range drivers, supplemented with a self-powered, pedestal-mounted subwoofer. All of this is built into drop-dead-gorgeous cabinetry, bench-built in New Jersey from solid black walnut. Price: $26,500, woodchuck not included.
Art Dudley Posted: Jan 12, 2009 0 comments
Much has been made of the influence that Linn, Naim, and Rega have had on our ideas about music-system hierarchies: Before they and a handful of other British audio manufacturers kicked off the debate in the 1970s, the conventional wisdom worldwide was that the loudspeaker was more important than the record player, amplifier, or any other link in the domestic audio chain, and thus deserved to be the object of significantly greater care and attention, not to mention investment of cash. But the Brit-fi approach was different, and ostensibly better reasoned: Because musical information that's distorted or dropped entirely by a record player, a CD player, or any other source can't be made right by any other component in the system, it is the source that must be considered the most important component of all, and to which the majority of funds should be allocated.
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Art Dudley Posted: Oct 19, 2012 1 comments
I've heard TAD's high-tech CR1 loudspeakers ($42,000/pair) on other occasions, at other shows. But they've never sounded as good as they did at RMAF, where they were demonstrated with electronics from a new company called Zesto (a great, un-self-conscious name that sounds like an affiliate of Slusho, the imaginary Japanese soft-drink company created for the 2008 film Cloverfield). The source was a Merrill-Williams REAL 101 turntable ($7200) with Triplanar arm ($5800), Dynavector XX2 MkII cartridge ($1985), and Zesto Andros phono stage ($4300) and Leto preamp ($7500), plus GamuT D200 amp ($6000) and WyWires cabling— which, like the Zesto gear, comes from Thousand Oaks, CA. On selections by Illinois Jacquet and others, this system sounded richly textured and very involving.
Art Dudley Posted: Nov 16, 2003 Published: Nov 01, 2003 0 comments
My friend Harvey Rosenberg, who had more clever ideas in a day than most of us have in a lifetime, was a Tannoy loudspeaker enthusiast. I, on the other hand, had little experience with the brand before 1995, when Harvey invited me to come over and hear his then-new Tannoy Westminster Royals.
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Art Dudley Posted: Mar 22, 2013 2 comments
Mark Waldrep of AIX Records was on hand with Tearing it Up, the Albert Lee performance film that was recently featured in Stereophile’s pages. Waldrep also showed off a processor called the Realiser (ca $3000), from Smyth Research, a listener-adaptive device that, in this demonstration, allowed me to hear surround effects just as Mark Waldrep hears them in his own installation. Even this headphone-phobic monophile was impressed.
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Art Dudley Posted: Apr 18, 2013 0 comments
Industry veteran Louis Manno was on-hand to remind show attendees about the Audio History Library and Museum, a non-profit organization that's dedicated to creating an on-line database of information on the domestic and pro audio industries. (To that end, Manno brought with him some of the more tangible audio specimens from his collection.) Individuals and businesses alike can contribute to this project in a variety of ways; details are available at www.audiohistory.com.
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Art Dudley Posted: Apr 14, 2012 Published: Apr 17, 2012 1 comments
Bill Leebens, who serves as Vice President of the Chester Group—the organization that produced the New York Audio and AV Show—did a hell of a job getting this thing off the ground, alongside the Chester Group’s Roy Bird, Justin Bird, and Scott Humphrey, not to mention the enduringly beloved publicist Lucette Nicoll and T.H.E. Show's Richard Beers. Leebens, seen here in one of the Waldorf's intimate little rooms, is an audio industry stalwart whom I’ve known for years yet never actually met!
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Art Dudley Posted: Apr 15, 2013 0 comments
In one of two rooms sponsored by New Jersey dealer Audio Doctor, Jay Rein of distributor Bluebird Music demonstrated an impressive system comprising KEF Blade loudspeakers ($30,000/pair), Chord SPM 14000 Mk.II mono amplifiers ($86,000/pair), the Chord CPA 8000 Reference preamp ($45,000), a Manley Steelhead phono preamp ($8000), and the Kronos turntable (starting at $32,000)—a combination on which Neil Young’s Comes a Time album sounded so good, I can scarcely wait to hear it again when I get home. While there I also enjoyed some music files—appropriately, my friend Michael Lavorgna of Audiostream.com had the seat next to mine—courtesy of the Chord DSX-1000 ($13,000), a music streamer that incorporates the same company’s well-received QBD 76 D/A converter.
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Art Dudley Posted: Mar 29, 2012 5 comments
The late Bill Monroe may have been the father of bluegrass music, but it was the distinctive banjo playing of Earl Scruggs that most listeners came to recognize as the voice of an entire style. Scruggs, who died on March 28 at the age of 88, left an indelible imprint on American music, influencing virtually ever player of the five-string banjo to follow.

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