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Kalman Rubinson Posted: Feb 24, 2013 Published: Oct 01, 1997 1 comments
666Artemis_Eos.jpgThough the original Artemis Systems Eos has been around for a few years, it doesn't seem to have made a big impression on audiophiles. Judging by a brief but exciting audition of the new Eos Signature and its accompanying Base Module at HI-FI '96, I found it hard to understand how it could remain such a well-kept secret. A few weeks later, to my surprise, Wes Phillips asked me if I wanted to review a pair and, throwing caution to the winds, I jumped at the opportunity. Rash move.

The movers delivered three large boxes and two absolutely huge crates. Inside the boxes were the two Eos Signatures and their external crossovers. Each crate contained a Base Module, and their appearance struck fear into my heart. I had gone too far—each one weighed 300 lbs, and together they were more commodious than some apartments in my Manhattan neighborhood. I signed for the delivery, then panicked when I realized there was no way to get these unpacked before my wife came home. Indeed, I didn't know how I was going to do it at all.

Kalman Rubinson Posted: Jun 15, 2003 0 comments
When I first got into hi-fi, stereo was just over the horizon and imported products were still rare. The inexpensive ones came from Japan, and you could find them, often with names that changed from week to week, in the open-air displays in and around Cortlandt Street in lower Manhattan. The more expensive brands were European, primarily British, and beyond my financial grasp.
Kalman Rubinson Posted: Dec 17, 2012 26 comments
There never seem to be enough AC outlets, and when there are, they're not always easily accessible. I have two dedicated 15A duplex outlets at the power-amp end of my room, but a subwoofer and multiple power amps (up to three at a time) exhaust those facilities. What happens when I need to add a second subwoofer or other EQ? What do I do when I want to keep more than three amps cooking for quick comparisons?
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Kalman Rubinson Posted: Jan 16, 2014 2 comments
I know this is a lousy picture but it doesn't matter because the important product in it, the new AURALiC Aries Music Streamer (second from the top) is a prototype and it is housed in an enclosure borrowed from the AURALiC Vega DAC (top of the stack) recently praised by JA in the February issue. The Aries ($999) is the link between the NAS where you store your music files and your USB DAC. It is the first implementation of AURALiC's Lightning streaming protocol, based on 802.11ac Gigabit WiFi and capable of gapless play of all current formats, in stereo, up to 32/384, DXD, and DSD128 as well as all common lossy and lossless formats. The Aires has built-in Internet radio and is compatible with all major platforms and many other streaming protocols, including UPnP and DLNA.
Kalman Rubinson Posted: May 09, 2011 2 comments
As B&W's 800 Series has evolved, Stereophile has reported on its progress. Lewis Lipnick reviewed the Matrix 801 Series 2 in 1987, and Wes Phillips wrote about the Nautilus 801 in 1999. I reviewed the B&W 800 Signature in 2002 and the 802D in 2005. This is getting to be a habit.
Kalman Rubinson Posted: Dec 11, 2005 0 comments
Back in the 1970s, I used to hang out at an audio store on Northern Boulevard's Miracle Mile. After business hours—and sometimes during them—a group of us audiophiles would put every new product through the wringer. One of the most anticipated was the original B&W 801, which appeared in 1979. The 801 was simply unflappable. Fed enough power, a pair of them played louder and cleaner than anything we had ever heard, including the mammoth, multimodule Fultons that were the pride of that shop. But—and this was a big but—the 801 lacked immediacy and engagement, and I soon fell back to preferring an earlier B&W model, the DM6, which seemed more coherent and to offer the music out to the listener. The 801 was more objective and detached, but boy, could it knock you over with the right source material.
Kalman Rubinson Posted: Jun 13, 2002 0 comments
I once got a fortune cookie that read, "Ask and ye shall receive. This includes trouble." A few years back, shopping for speakers, I inquired about reviewing the B&W Nautilus 802, but it was too soon after Wes Phillips had reviewed the Nautilus 801 for Stereophile. So, other auditioning and reviewing (and buying) other speakers, I asked again, and again was met with deferral. Recently, out of the blue, B&W offered the Nautilus 802—then, in the next breath, asked if I'd rather have the Signature 800s.
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Kalman Rubinson Posted: Nov 22, 2004 0 comments
At nearly simultaneous press receptions in London and New York on November 17, B&W unveiled its new 800 series loudspeakers, the first complete redesign of this respected and venerable line in more than six years. Wisely, the presentation began with cocktails and a surprisingly entertaining technical description of the innovations. The latter offered many reassurances that, although all aspects of the 800 line were examined, no changes were made simply for the sake of change, and the basic design principles withstood this re-examination. Thus, when we were, at last, treated to the displayed speakers themselves, we were not surprised that they greatly resembled their predecessors, and we focused, instead, on the new features.
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Kalman Rubinson Posted: Sep 07, 2007 0 comments
Look at the picture and tell me that those don’t look like speakers! They are, of course, but they are not intended to be driven by audio signals directly. What subwoofer manufacturer Bag End was demonstrating is a small, active bass trap, the E-Trap, and they are driven by the bass frequencies in the room. Each of these small boxes contains a driver, two microphones, and some pretty snazzy electronics that let the driver cancel the energy at the frequency (or two) of your room’s major mode. Sure, acoustic treatment is generally best, but that can get awfully cumbersome below 100Hz. Adjustments allow you to select frequencies between 20Hz and 65Hz and adjust the amplitude and shape of the cancellation. For critical success, you need to experiment with placement (although that is almost always at a room boundary) and, at the moment, have access to some nice FFT software. Bag End's James Wischmeyer promises that, eventually, some simpler setup software will be provided. Mebbe, but I asked to try one ASAP.
Kalman Rubinson Posted: Dec 20, 2016 18 comments
Bang & Olufsen's BeoLab 90 is not a loudspeaker to take on lightly. Though its size—49.33" high by 28.9" wide by 29.4" deep—and weight (302 lbs each) meant a major disruption of my listening room, which is also our living room, my wife assented. Its price of $84,990/pair puts it far beyond anything I might consider buying—and the complexity of the BeoLab 90, which has its own dedicated amplifiers and DACs, makes it impossible for a reviewer—or consumer—to directly compare it with any other loudspeaker. So be it.