One day last year, my friend Larry and I were talking about our college-fraternity days and loudspeakers. Those were four of the best years of my life. Strong friendships were formed, and ever since, we've kept in touch with most of our fraternity's brothers-in-heart. Ours was not a jock house, nor was it the last bastion of rampant male sexuality—it was, after all, an MIT frat house. But it was full of music lovers who fell neatly into three camps: the California School owned JBL Decades, the New England School had Smaller Advents, and the Renegades boasted bootlegged Bose 901s (footnote 1).
The two-way, biwirable, rear-ported Dreamcatcher is designed and manufactured in Canada; its drive-units are designed by Totem, but made and assembled in Europe. The 1" titanium-dome tweeter, manufactured by German Acoustik, is mated to a 4" Scan-Speak woofer. Totem founder Vince Bruzzese feels very strongly about sourcing his drivers in the West. In the past, he got his small woofers from Peerless in Denmark, but switched to Scan-Speak when Peerless started manufacturing in China. Bruzzese also pointed out that the tweeter used in the Dreamcatcher costs him 16, more than 15 times as much as most similar Asian-made tweeters.
I love attending Stereophile's Home Entertainment shows. I get to check out the latest gear, hobnob with manufacturers and writer colleagues, hear some live music, and play a little jazz with John Atkinson, Zan Stewart, and Immedia's Allen Perkins. Unfortunately, work commitments at my day job meant I couldn't attend HE2003, in San Francisco, so I directed my team of Stereophile scouts to find me some hot new budget speakers. Robert Deutsch was quickest to respond, the week following the show: "Bob, you've got to check out these new speakers from Usher Audio in Taiwan! They have a number of models within your budget." One phone call later, and a $1000/pair of Compass X-719 bookshelf speakers was on its way to me.
The last few years at our annual Home Entertainment Show, many readers have come up to me and asked: "How do you select which speakers to review?" In my case, most candidates are either new products that have impressed me when demonstrated at our HE Shows, or new products from manufacturers whose designs have impressed me in the past. Occasionally, editor John Atkinson gets wind of a speaker and asks if I'd like to review it. But once in a while, a manufacturer reads a rave review of a competing product that makes his or her blood boil.
A while back, I received an e-mail from The Kid (Stephen Mejias): "I've been listening to and enjoying the Wharfedale 10.1 loudspeakers ($350/pair) for a couple of months. I wrote about them for my March and April issue columns, but they are good enough for a complete review. Are you interested?"
Hmm . . . so The Kid is now assigning me equipment reviews? "Sure, why not?"
The day after the Wharfedales arrived, The Kid sent me another e-mail: "Have you unpacked them yet? They are so pretty!"
As a musician who has studied of all forms of acoustic and electric keyboard instruments, I have played the gamut of keyboards, from gems to disasters. I think the most significant keyboard developments of the 20th century were the Hammond organ, the Fender Rhodes electric piano, and the Moog synthesizer. These instruments were notable not for their ability to replicate the sound of acoustic instruments, but for the new timbres and textures possible with them, which have since become permanent parts of our musical vocabulary. I have now played an instrument that may prove one of the most significant keyboard designs of the 21st century: the Yamaha AvantGrand N3.