This is an era in which products and websites are "launched," but in the past two years Herron Audio has sort of oozed its way into the public ear. With little visible promotion or splashy advertising, Herron is now spoken of within an ever-widening audiophile circle.
Ideally, LPs should be played with the pickup stylus remaining tangential (ie, at a 90° angle) to the groovejust as the lacquer from which the LP was ultimately stamped was cut in the first place. Over the years, many attempts have been made to accomplish this. Back in 1877, Thomas A. Edison's original machines tangentially tracked his cylinders, but Emil Berliner's invention of the flat disc put an end to cylinders altogether. In the 1950s, a number of companies marketed so-called "tangential" trackers that used dual arms, based on conventional pivoting arrangements, to change the angle at which the headshell was mounted as it moved across the LP side. In 1963, Marantz introduced the SLT-12, which used a plastic pantograph to move the stylus across the record surface. Garrard's Zero 100 pivoting arm controlled its independently pivoting headshell with a bar that extended from the main bearing of the tonearm.
There's a whorish aspect to reviewing that some readers and industry critics never tire of mentioning, as if they've stumbled onto some great revelation: that we writers seem to flit from new product to new product, sometimes gushing like cracked fire hydrants over one amplifier one month, only to gush over another amp the following month.
Not since Sonus Faber's Amati Homage loudspeakers took up residence in my listening room has a piece of audio gear elicited so many "Oohs," "Aahs," and "Wows" from friends as Hovland Company's dramatic-looking, EL34-driven Sapphire power amplifier—especially when it was switched on and glowing orange and blue. It drew unsolicited attention and admiration even when turned off. Not that, on or off, its unusual looks didn't also have their share of detractors. As with Hovland's chrome-façaded, blue-backlit HP-100 preamplifier, some found the Sapphire too shiny, too gaudy, and generally just too much. Me, I'm thumbs-up on the Sapphire's looks—I found myself staring at it incessantly. But anything that draws such intensity of response, whether love or hate, must be doing something right. B&O shouldn't have a monopoly on striking-looking audio gear.
If the sole criterion for choosing a winner in today's hotly contested premium arms race was original thinking, the Immedia RPM-2 might well come out on top. While some of its design details resemble those found on other products, in many significant areas the arm is unique—not for uniqueness's sake, but in order to efficiently implement some clearly considered goals. If the unipivot RPM-2 bears a resemblance to any other contemporary arm, it is Naim's highly regarded ARO—which I've never heard. The similarity, though, would appear to be superficial.
You can bet Infinity plans on selling a respectable number of $8000/pair Prelude MTS speakers (reviewed in the May 2000 Stereophile) over this ambitious, full-range design's anticipated lifespan. But will the company make enough money to recoup the megabucks spent on researching, designing, and developing the all-new CMMD (Ceramic Metal Matrix Diaphragm) drivers, BASH (Bridge Amplifier Switching Hybrid) powered subwoofer, and RABOS (Room Adaptive Bass Optimization System) bass-equalization system? NOWAY (Never Over-Estimate What Acronyms Yield).
Sometimes you have to wonder why big corporations gobble up small speaker companies. Most such firms are built by individualist entrepreneurs chasing an elusive dream—an up-close and personal thing that is the antithesis of the corporate mentality. That's why speaker companies are so often named after the founder.
"It costs as much as a car—and not a used jalopy, either." That's what goes through your head as you contemplate this magnificent $20,190 piece of audio jewelry. I don't mean "jewelry" pejoratively; the tubed Jadis RC JP80 MC Mk.II is a gorgeous, gleaming hunk of retro-looking machinery. Two hunks, actually: an equally large remote power supply is connected via an umbilical cord terminated with an elbow connector the size of house plumbing.
I approached this loudspeaker much as some of today's political candidates might approach sex: as a means of reproduction, not pleasure.
I brought it on myself. I asked to review Joseph Audio's stand-mounted, two-way Pulsar because I felt an obligation to step down from the rarified air of some of the absurdly priced gear I've been reviewing lately and sample something more "affordable." The Pulsar costs $7000/pair.
Not for nothing did I name the Kharma-Lamm room at Home Entertainment 2002 the "Best Sound in Show." Show attendees slotted it 17th best [see September 2002, p.59—Ed.], behind other rooms to which I also gave high marks—mostly larger rooms featuring far bigger loudspeakers—but to me, the sound emanating from the Kharma Ceramique 3.2 ($19,000/pair), driven by Lamm electronics, possessed a sublime balance of sonic qualities heard in few other rooms.