I've been in a nostalgic funk of late. What started it was visiting Golden, Colorado, where I spent my graduate-school days, and seeing all of the changes, not to mention the lecture halls full of kids who couldn't be a day over 12. When I commented on how young the freshmen looked, our host—a colleague of mine from grad school, now a professor—responded, "Those are seniors, Brian." I felt a little old.
The $3000 moving-coil (MC) PhD, available from Chad Kassem's Acoustic Sounds operation, is a monumental achievement that, for me, sets new standards for the cleanness and transparency possible in a phono preamp—and I've had a lot of experience with phono preamps.
At what point does a high price become exorbitant? When do you start doing double takes, to make sure you haven't mentally moved a decimal point? When do you look at something and think, "No matter how good it may be, it's just not worth that much money"?
One of the biggest challenges in setting up any new listening room is getting the room to work with your equipment rather than against it. I faced this challenge in spades when Trish and I moved into our dream house in the California hills. What would serve as my listening room was a wonderful, open space with panoramic views of the surrounding hills—a space that bore no resemblance at all to a traditional, rectangular, dedicated listening room. Instead, there was a wall of glass, a huge marble-and-glass fireplace, a 20' ceiling—and did I mention that it isn't actually a "room," but one arm of a continuous flowing space?
I was riding BART home from Home Entertainment 2003, thinking about the day—the new products, the old friends, the rooms with really great sound. It's a long ride from downtown San Francisco to Livermore, so I next got to thinking about all of the hi-fi shows I've attended over the years and which companies, year after year, always seem to have good sound. At the top of the list were Audio Physic and its US importer, Allen Perkins' Immedia.
Have you ever had one of those conversations with your Significant Other that begins "But I thought you said..." and goes downhill from there? The Other's tone is condescending, and the body language—hands on hips, head slightly tilted—lets you know you're in big trouble.
Being a metallurgical engineer, I've always been intrigued by audio cables—their construction, the materials they're made of, how they're produced, and, of course, how all of that relates to their sound. Over the years, I've auditioned a wide range of cables, from Nordost's round conductors in a flat cable, to Alpha-Core's flat cables in a round conductor, to MIT's complex termination systems. I've even got a closet full of cables—some quite good—from companies that no longer exist.
I was in a jam. John Atkinson was gently reminding me of rapidly approaching deadlines, and my longtime reference CD player, the Simaudio Moon Eclipse, had just been recalled for an upgrade. This wouldn't normally have been a problem, but I was also in the middle of relocating from New Mexico to California, and all of my backup gear was either in storage or on a moving truck somewhere.
One of the nicest surprises at any audio show is encountering a new—to me, at least—manufacturer whose products seem to stand out from the competition. At the 2002 Consumer Electronics Show, one such standout was the Kirksaeter line of loudspeakers from Germany. I spent quite a few minutes listening to and enjoying the performance of these modestly sized and priced speakers, but since my writing assignment was electronics, I tucked the experience away in the back of my mind and moved on.
I had a wonderful audio moment the other night. It was late in the evening, after a long day. I was standing in the middle of my makeshift listening room—Trish's dining room—and in spite of the fact that we were moving in just a few weeks, I'd just unpacked and set up my combo of VPI TNT Mk.V-HR turntable and tonearm with Grado Statement cartridge and dug a box of LPs out of the stacks in the garage. I cued up Dave Brubeck's Time Out (Columbia/Classic CS 8192), and the first notes of "Blue Rondo à la Turk" froze me in my tracks.