The unusual Miyajima Shilabe moving-coil cartridge ($2800) came to my attention through a friend, and I obtained one from the importer, Robin Wyatt of Robyatt Audio, a music lover and dedicated audiophile who imports gear as a sideline, and who lives nearby in New Jersey.
In his "Manufacturer's Comment" in response to my review of the original Music Reference RM-200 power amplifier in the April 2002 issue, designer Roger Modjeski admitted that being a manufacturer was not his first choice. "Frankly, I'd rather consult than produce," he claimed. "I'd rather be making a living doing stand-up comedy," I said to myself after reading his comment.
Reviewing a vacuum-tube power amplifier is like having your pants pulled down in front of a large crowd of people. I don't know how else to describe the feeling of spending a month or two luxuriating in fabulous sound, then writing a glowing review, then receiving a copy of the review as it will appear in the magazine, complete with John Atkinson's assessment of the amp's test-bench performance, which is usually miserable.
How much amplifier power do you need? Most audiophiles figure a maximum of a few hundred watts per channel—beyond that, you're wasting your money or showing off. Others think that anything more than a few watts will mess up an amplifier's musical coherence or "purity," so they stop there and find uncommonly sensitive speakers, usually compression horns with cone woofers.
Musical Fidelity's Tri-Vista kWP, introduced in 2003, was an impressive, high-tech, "statement" audiophile preamplifier. Its outboard power supply weighed almost 56 lbsmore than most power amplifiersand its hybrid circuitry included miniature military-grade vacuum tubes. As I said in my review of it in the January 2004 Stereophile, the kWP's chassis and innards were overbuilt, the measured performance impressive, and any sonic signature imposed on the signal was subtle and, essentially, inconsequential.
How much fun can you have with an audio component? Fun for me is having a Nakamichi BX-300 analog cassette deck running into Musical Fidelity's evolutionary, revolutionary CD-Pre24 preamplifier, with the unit's digital output feeding the Alesis Masterlink hard-drive-based digital recorder, and being able to monitor the digital loop through the preamp once again in the analog domain.
Not every audiophile needs an amplifier powerful enough to tax a small town's power grid while simultaneously draining his or her bank account. So, having quickly sold out of its ultra-limited-edition, extravagantly powered and priced combo of kWp preamplifier ($14,995) and kW power amp ($27,995) that I reviewed in January 2004, Musical Fidelity (footnote 1) set about capitalizing on the enthusiastic reviews earned by those giants with less expensive, less powerful, "real-world" replacements.
The old advertising jingle "Who put eight great tomatoes in that itty-bitty can?" bubbled through my head as Musical Fidelity's Antony Michaelson proudly unboxed the new $4500 M3 Nu-Vista integrated amplifier. How did they cram it all in there?
Nothing like scarcity to create demand, right? Well, there's been a scarcity of Nuvistors out there for decades, and hardly any demand. Do you know about the Nuvistor, aka the 6CW4? It was a tiny triode tube smaller than your average phono cartridge. Enclosing its vacuum in metal rather than glass, the Nuvistor was designed as a long-lived, highly linear device with low heat, low microphony, and low noise---all of which it needed to have any hope of competing in the brave new solid-state world emerging when RCA introduced it in the 1960s.