KEF's LS50 loudspeaker was introduced in 2012 to celebrate the English manufacturer's 50th anniversary. Usually, anniversary models are large, floorstanding "statement" designs with a price to match, but the LS50 was a minimonitor, priced at $1500/pair. I reviewed the Anniversary Edition LS50 in December 2012 (footnote 1), writing that it was rare to find a loudspeaker that offers this combination of clarity and neutrality and concluding that within its limits of dynamic range and bass extension, the KEF LS50 "will provide Class A sound for those with small rooms."
Three products are the subjects of lengthy followup reviews in the December issue of Stereophile: MBL's Noble Line N31 CD player-D/A processor, the GoldenEar BRX loudspeaker, and Alta Audio's Alyssa loudspeaker.
Back in June 1994, I reviewed the Bowers & Wilkins John Bowers Silver Signature standmounted loudspeaker. This speaker cost a breathtaking $8000/pair at that time, and I subsequently bought the review samples and their matching slate stands. It was the best-sounding speaker I had used in my Santa Fe listening room: When the company's then-owner, Robert Trunz, visited me a couple of years later, he told me that he hadn't realized how good the Silver Signatures could sound. But after I moved to Brooklyn, in 2000, the Silver Signature never worked as well in my new listening room. I still own the speakers, but they currently live in our storage unit.
"Pints With Ayre," the series of videos produced by Colorado manufacturer Ayre Acoustics, has been regular viewing chez Atkinson during these pandemic times. Covering subjects like volume control design, amplifier gain stages, audio transformers, and listening tests, the series presents sometimes esoteric technical subjects in an easy-to-grasp manner.
In the latest episode of “Pints With Ayre,” I was invited to talk about a subject close to my heart, the how and why a review magazine’s reviews should be accompanied by measurements. You can find my current thoughts at the link in this article. I don’t think I gave too many secrets away!
Ever since I stopped using my Audio Research SP10 preamplifier in the early 1990sits eight phono-stage tubes used to get too noisy too quicklyI tried a variety of standalone phono preamplifiers. Seeing the most service through the 1990s and 2000s were, first, a Mod Squad Phono Drive EPS, then a Linn Linto, both of which I purchased. But when I measured Channel D's Seta Model L, which Michael Fremer reviewed in the August 2010 issue, the Linto was pushed to one side. The battery-powered Seta L (footnote 1) had the lowest noise and distortion I had encountered in a phono preamplifier, and I eventually bought the sample I had been sent for a follow-up review in 2013.
Although it was founded by ex-Siemens loudspeaker engineer Oliver Göbel in 2003, I am embarrassed to admit that I had never heard of Göbel High End until I visited the room hosted by Florida retailer Bending Wave at the 2019 AXPONA. There, I listened to the German manufacturer's ginormous $220,000/pair Divin Noblesse loudspeakers, which were making their US debut. I was impressed by what I heard. I was interested, therefore, to learn that Göbel was introducing a smaller Divin model, the Marquis, which would not be too large for my listening room and would be priced at $80,000/pair.
Issue 54 of The Absolute Sound, cover-dated July/August 1988, had arrived in my mailbox. I had been warned that this issue contained a report from Stereophile's third hi-fi show, which had been held in Santa Monica the previous April. Although it wasn't listed in the issue's table of contents, I found the show report on page 186, written by Michael Fremer, who was listed on the magazine's masthead as "Senior Editor: Pop Mix."
When Stereophile publishes followup reviews of various kinds in the print magazine, we add the followup as a "child page" to the full review. That means that they don't appear on the website's home page and might get missed. The October 2020 issue included three followups: of the Boulder 2108 phono preamplifier, the Weiss DAC502 D/A processor, and the IsoAcoustics Gaia loudspeaker isolation feet.
The email from Herb Reichert was intriguing. "I am, with great difficulty writing about HoloAudio's new two-chassis May DAC," he wrote. "It is death quiet and very natural. It makes every recording sound non-digital."
Once Herb had finished writing his review of the HoloAudio for the August issue's Gramophone Dreams column, I sped to his Bed-Stuy bothy and grabbed the May DAC, both to get it on my test bench and to take a listen for myself.