The latest edition of Audio's annual equipment directory lists 238 speaker manufacturers. At best I can claim to have heard one product from 10–15% of the manufacturers on this list, and the top of the current product line from a far smaller percentage.
Remember Rube Goldberg? He was a cartoonist during the late 1920s to early 1950s who specialized in devising the most outlandish and ingenious devices ever conceived by man, before or since. A Rube Goldberg mousetrap, for example, would occupy an entire small room. In taking the bait, the mouse would tip a balance beam, dropping a steel ball into a gutter, down which the ball would roll to strike a paddle whose spin would wind up a string that hoisted a weight into the air until it reached a trigger at the top, which would then release the weight to drop onto the unsuspecting mouse. Splat!
I am reluctant to call any given transistor power amplifier a "best buy" or "breakthrough." From my talks with designers and other audiophiles, it is clear that the state of the art in power amplifiers is about to change. From where I stand, the Adcom GFA-555 is the first sample of this new wave. It is so clearly superior to past amplifiers in the low- to mid-priced range—not to mention most amplifiers two to three times its pric—that I can unhesitatingly recommend it for even the most demanding high end system.
Well, it was inevitable. Prior to the MCD, every CD player had been a product of a major Japanese or European manufacturer, and we all know what kind of audio electronics "major" manufacturers usually design: adequate, but rarely much better. The MCD is the first player from a small, perfectionist-oriented firm, and an English one at that (Boothroyd-Stuart).
I must admit that even before I connected up this amplifier I was put off by the accompanying literature. B&K makes some persuasive points about the validity (or rather the lack thereof) of some traditional amplifier tests, but the literature was so loaded with flagrant grammaticides, syntactical ineptitudes, and outright errors that I could not help but wonder if the same lack of concern had gone into the product itself (eg, the term "infrasonic" is used throughout to mean "ultrasonic"). Good copy editors aren't that hard to find; B&K should have found one.
There is something refreshingly no-nonsense about the design and construction of this turntable. It looks as if someone just said, Okay, this, that, and the other thing need to be done. Let's do it. And then they did it. In appearance at least, it is about as simple a design as you're likely to find. What sets it apart from other simple designs is that this one is built like a battleship! Everything is heavy-duty (notto mention heavy), from the 10-lb, lead-laminated aluminum platter to the ¼"steel-reinforced subchassis.
High-quality, low-cost loudspeaker systems are not an everyday blessing. The Rogers LS3/5a has survived for more than a decade precisely because so few US manufacturers sought musical accuracy as distinguished from high output and powerful bass. The economics of loudspeaker manufacture also don't lend themselves to economy. The cost of woodwork is driving the price of speakers up almost as fast as the cost of sheet-metal work is escalating the price of electronics.
The SOTA Sapphire was the first, and the most successful in terms of sales, of the new generation of high-end American turntables. As such, the SOTA can be viewed as leading this country's resurge ence of interest in high-quality turntable production. At the time of the SOTA's introduction in 1981, it was the only high-end turntable manufactured in the US. Since then American-made turntables have appeared from the likes of AR, Mapleknoll, Sonographe, and VPI.
Warning to Purists: Despite certain qualities about the ESL-63 speakers which you will probably like, Quad equipment is not designed primarily for audiophiles, but for serious-music (call that "classical") listeners who play records more for musical enjoyment than for the sound. Quad's loudspeakers do not reproduce very deep bass and will not play at aurally traumatizing volume levels, and Quad's preamplifier is compromised through the addition of tone controls and filters, all for the purpose of making old, mediocre, and/or worn recordings sound as listenable as possible.