With the introduction of the NHB-108 stereo amplifier, Swiss-based darTZeel quickly established a reputation for pristine, hand-built quality, fanciful industrial design, and elegant circuitry—all accompanied by a healthy jolt of sticker shock. (See John Marks' coverage in his September 2003 "Fifth Element" column, followed by Wes Phillips' full review in April 2005 .) The 100Wpc (into 8 ohms) NHB-108 costs more than $18,000. A lot of change for not a lot of power, but the reviews were unanimous in praising the amp's exceptional sound quality.
A recent (unpublished) letter to the editor argued that the reference for audio perfection is the sound of real instruments in a real space. The writer claimed that, since the art and/or science of audio is advancing, and because it is a "scientific truth" that the closer you get to perfection, the less divergence there is components, that therefore there should be less difference in sound among the components listed in Class A of Stereophile's "Recommended Components" than among those in Class B, much less Class C. This should be true of loudspeakers, he said, but even more true of top-rated amplifiers, since "they inherently have less divergence."
Don't have $80,000 to drop on dCS's four-component Scarlatti SACD stack that I reviewed in August 2009, or $17,999 for their Puccini SACD/CD player that John Atkinson raved about in December 2009? Even if you do, the new Debussy D/A processor ($10,999) might be a better fit for your 21st-century audio system. Sure, you don't get an SACD transportor any kind of disc play, for that matterbut the odds today are that you already have a player you like that's got an S/PDIF output that can feed the Debussy.
Is anyone in this economy shopping for a four-box, rack-swallowing, two-channel SACD/CD player contending for the state of the art and costing $79,996? dCS is betting that its Scarlatti will attract a small crowd of those wealthy music enthusiasts who, in any economy, reliably pony up for the best. For the rest of us, the Scarlatti will be a spectator sport.
Well into dCS managing director Mike Story's attempted explanation of upsampling, there came an epic moment when the ever-expanding universe of his thoughts—which we had been following to new heights of digital enlightenment—broke free of our collective grip, snapped back on itself, and caused a conceptual implosion of nearly cataclysmic proportions. The blank, spent expressions on the faces of the journalists gathered in the small attic-like meeting room at dCS's Great Chesterford (UK) facility all seemed to say, "What the hell was that? Was it just me, or did you feel that too?"
It was my hunt for new and interesting-looking turntables at the 2004 Consumer Electronics Show that introduced me to the loudspeakers from DeVore Fidelity. In the Glass Amplifier room I spied a Teres turntable with a Darth Vader-ish look and sat down to listen. From a pair of nondescript, two-way, floorstanding speakers so small they were almost lost in the room, came surprisingly present, full-bodied, and notably coherent music. Their sound so far exceeded my low expectations that I exclaimed, "What are those?! Whoever designed them sure knows what he's doing!"
No, folks, vinyl is not dead. And even though my colleague Mikey Fremer is beginning to sound like a broken record, the little guy is right: when it comes to the sound on offer, CD still doesn't come close. There are more turntables, phono cartridges, and tonearms on the market today than ever before. Moreover, with companies like Classic Records, Analogue Productions, and Mosaic offering a steady stream of ultra-high-quality reissues, there seems to be an increasing supply of quality vinyl at reasonable prices.
It doesn't take a genius to appreciate the audacity of naming a company after Albert Einstein, the iconic science and math whiz. Clearly, company founder and owner Volker Bohlmeier knew what he was doingthis German brand of boutique electronics has enjoyed worldwide critical and marketplace success since its founding more than 20 years ago.
In the ongoing debacle that has been the introduction and promotion of high-resolution digital audio and the record industry's struggles to engage the public's interest in it, two recent events stand out.
With the introduction of the 1000 Be series in 2005, Focal slipped its exclusive, high-performance beryllium tweeter out of the stuffy-looking Utopia series and into a sleeker, more stylish, more modern form.