What's next for you? Your last CD player? Your first SACD player? DVD-Audio? Looking forward to multichannel music? Still satisfied with two-channel stereo? Maybe you're waiting for an affordable combination SACD/DVD-A multichannel player, or for the format feud to shake out and leave a clear winner. So many options, so much excitement, so little software.
Musical Fidelity's founder, Antony Michaelson, arrived at my house to help me set up the two chassis of his sleek, limited-edition, $30,000 Titan power amplifier. (The task requires at least two people.) A week later, a representative of Musical Fidelity's US importer, KEF America, dropped by to listen and to deliver three of Musical Fidelity's new V-series products: a phono preamp, a DAC, and a headphone amp. All three fit comfortably into a small paper bag; the price of the three was $700.
Thoughts of power, domination, and audio road-rage enter one's mind when contemplating Musical Fidelity's SUV-like, limited-edition, 20th-anniversary offerings (footnote 1). (Only 75 sets of kWPs and kWs will be made.) The gleaming, brushed-aluminum, two-box, oversized, overweight Tri-Vista kWP preamp is fortress-like—the "kWP" looks as if chiseled into the faceplate by grimy, sweaty hands. Each of its boxes weighs almost 56 lbs. The unit's milled-aluminum remote control, the size of a Volkswagen Microbus and looking like something Fred Flintstone might wield, must weigh over 5 lbs. The kWP outputs more juice than many power amps: 55V, with 20 amps of peak-peak instantaneous current!
Overachievers tend to rankle people after a while. Musical Fidelity, a relatively small British company run by Antony Michaelson, has issued a stream of high-performance, high-value electronic products over the past few years, along with a limited-edition line of pricier designs based on the military-spec nuvistor vacuum tube. With few exceptions, Musical Fidelity products have garnered outstanding reviews worldwide, with consumer acceptance to match. Michaelson is also an accomplished clarinetist, recording and issuing classical-music CDs in his "spare" time.
Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.
This tiny, lightweight, battery-powered jewel is loosely based on Nagra's VPS phono stage that I reviewed in October 2008 but uses bipolar transistors instead of tubes. The bottom of the company's familiar brushed-aluminum case has a grippy rubber material die-cut to spell Nagra. It's intended to keep the preamp from sliding, but stiff cables will have the BPS hanging in the air if you're not careful. The BPS costs $2399.
Not that many years ago, it seems, every sound crew in Hollywood and around the world recorded production sound using a compact, open-reel analog tape recorder made by Nagra. The first iteration of the Swiss-made machine appeared in the early 1950s. Shortly thereafter, with the addition of an inaudible recorded tone that allowed easy syncing to picture, the Nagra recorder became the industry standard, and remained so through the 1980s. To this day, Nagra's line of audio products retains the look of those early recorders.
Give an engineering team a blank page and a blank check and there's no telling what they'll come up with. At the Consumer Electronics Show in Las Vegas in January, for example, one company showed a $25,000 CD transport with laser-pickup mechanism that was separate from its disc drive—almost the cosmic equivalent of having the sun revolve around the earth.
Naim's new "statement" CD player, the CD555 ($20,300 by itself, $28,150 with PS555 power supply), breaks no new technological ground. Rather, in typical Naim fashion, it attempts to optimize 16-bit/44.1kHz CD performance by paying fanatical attention to the devilish details. It doesn't play the DVD-Video, DVD-Audio, or SACD formats, nor does it have a digital output—and it doesn't create an illusion of higher resolution by upsampling the data.