Sort By: Post Date | Title | Publish Date
Michael Fremer Posted: Jan 10, 2002 0 comments
If your audiophile habit goes back more than a couple of decades, you're probably doing a double take looking at the Smart Devices 2X150VT. Looks like a Hafler DH-200, doesn't it? That's because, at its core, a Hafler DH-200 is exactly what it is. Smart Devices doesn't name names in its brochure, but they do say that "You may recognize this amplifier as one of the dominant premium performers of the 1970s and '80s"—a reasonable enough description of the MOSFET-output DH-200, which combined outstanding sound with a very reasonable price—especially if you built the kit.
Filed under
Michael Fremer Posted: Apr 15, 2000 0 comments
What do you want from a 21st-century record-playing device? I hear you: you want one that's compact, well-made, easy to set up, holds its setup, sounds great, and doesn't cost a lot.
Michael Fremer Posted: May 15, 2009 0 comments
Much has happened in the analog world since I reviewed SME's flagship Model 30/2 turntable for the March 2003 Stereophile (footnote 1). Back then, spending $25,000 on a turntable (without tonearm) was an odd extravagance intended only for those seriously committed to the format, and who already owned large LP collections. Although new LPs were being pressed in growing numbers, the resurgence of vinyl was still spotty, and the long-term prognosis for the old medium remained in question.
Filed under
Michael Fremer Posted: Mar 16, 2003 0 comments
Dense, compact, and built to run O-rings around the competition, SME's flagship turntable makes every other design I've encountered—with the possible exception of Rockport's System III Sirius—look almost homemade. I don't mean to insult the many fine, well-engineered designs out there, but I've seen nothing else to compare with SME's tank-like approach to spinning a record. Comparing the Model 30/2 to a tank isn't exactly fair: the machining is done to higher than mil-spec tolerances. I don't think anyone else building turntables today is capable of this level of construction quality, never mind design ingenuity and fit'n'finish.
Michael Fremer Posted: Jun 29, 1999 0 comments
After establishing a reputation for building small, magnificent-looking, very expensive, stand-mounted loudspeakers, the Italian manufacturer Sonus Faber has hit the ground running. First came the moderately priced ($3500/pair) floorstanding Concerto Grand Pianos, and now the company's "statement" loudspeaker, the Amati Homage--a $20,000/pair visual stunner that earns its keep almost by looks and touch alone.
Michael Fremer Posted: May 17, 1998 0 comments
I've never heard a pair of the Italian Sonus Faber speakers I didn't like. What I've never liked was the US price: too high. And then you have to put them on costly stands. Plus, you're paying a premium for the magnificent woodworking and exquisite design—something I wasn't into, since I live with my stereo in a basement office/workshop/listening room some (who shall remain nameless) refer to as the "habitat for inhumanity."
Michael Fremer Posted: Aug 11, 2007 0 comments
Audiophile eyes usually roll when a manufacturer describes a loudspeaker as a "genuine musical instrument." Musical instruments have specific characteristics of pitch and timbre. Ideally, a loudspeaker should be a portal to the music; the speaker itself should be neutral in pitch and timbre—in other words, the opposite of a musical instrument. That the sound produced should be "musical" is a different argument.
Michael Fremer Posted: Jan 18, 2005 0 comments
Yamaha once made a loudspeaker shaped like an ear. I felt sorry for the guy (especially if he was an audiophile) who had to write the ad copy explaining why a speaker shaped like an ear would sound better than one shaped like a shoebox or a wedge of cheese. An ear-shaped loudspeaker makes about as much sense as an eyeball-shaped television. But what about a loudspeaker that is designed like a musical instrument?
Michael Fremer Posted: Aug 12, 2011 1 comments
That is not a typo. The company is named Soulution—as in soul commitment to designing and manufacturing the finest audio gear it knows how, as in souldiering on in the face of skeptics who can't imagine why a power amplifier that puts out 130Wpc into 8 ohms or 260 into 4 ohms should cost $45,000, or weigh as much as a small pickup truck.
Michael Fremer Posted: Apr 25, 2008 0 comments
The audio industry may have lost a legend and a prolific innovator in Henry Kloss a few years back, but it still has another affable, creative eccentric in Peter Ledermann. In the mid-1970s, Ledermann was director of engineering at Bozak, where, with Rudy Bozak, he helped develop a miniature bookshelf speaker and a miniature powered subwoofer. Before that, Ledermann was a design engineer at RAM Audio Systems, working with Richard Majestic on the designs of everything from high-power, minimal-feedback power amplifiers and preamplifiers to phono cartridge systems. He was also an award-winning senior research engineer at IBM, and the primary inventor of 11 IBM patents.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading