Stop me if you've heard this one: Back in the early 1990s, just after the fall of the Soviet Union, I debated professor of music engineering and magazine columnist Ken Pohlmann on a talk show on the CBS radio network. The subject was analog sound vs digital sound, but I guess when Pohlmann felt I was getting the upper hand, he felt he needed to play the tube card. Derisively, he said, "I bet you're one of those tube guys, too, aren't you?" Before I could open my mouth, he continued: "You know, the Soviet Union's military gear, including the MIG fighters, ran on tube electronics, and look what happened to them!"
Simon Yorke is an artist, a machinist, an electronics wiz, and a political idealist. He's also an analog enthusiast who melds aesthetic and technical considerations into eye-catching, densely packed, compact record-playing devices that are ruggedly built and functionally elegant. His turntables' smooth, matte-gray, metallic finishes and efficient lines make them among the most visually pleasing ever made.
Conceptually audacious, elegantly designed, executed with space-age precision, and remarkably compact, Grand Prix Audio's direct-drive Monaco turntable ($19,500) aims to turn the tables on the belt-drive designs that have dominated analog playback for three decades.
In the ongoing debacle that has been the introduction and promotion of high-resolution digital audio and the record industry's struggles to engage the public's interest in it, two recent events stand out.
How much amplifier power do you need? Most audiophiles figure a maximum of a few hundred watts per channel—beyond that, you're wasting your money or showing off. Others think that anything more than a few watts will mess up an amplifier's musical coherence or "purity," so they stop there and find uncommonly sensitive speakers, usually compression horns with cone woofers.
Audiophile eyes usually roll when a manufacturer describes a loudspeaker as a "genuine musical instrument." Musical instruments have specific characteristics of pitch and timbre. Ideally, a loudspeaker should be a portal to the music; the speaker itself should be neutral in pitch and timbre—in other words, the opposite of a musical instrument. That the sound produced should be "musical" is a different argument.
With the introduction of the 1000 Be series in 2005, Focal slipped its exclusive, high-performance beryllium tweeter out of the stuffy-looking Utopia series and into a sleeker, more stylish, more modern form.
With the introduction of the NHB-108 stereo amplifier, Swiss-based darTZeel quickly established a reputation for pristine, hand-built quality, fanciful industrial design, and elegant circuitry—all accompanied by a healthy jolt of sticker shock. (See John Marks' coverage in his September 2003 "Fifth Element" column, followed by Wes Phillips' full review in April 2005 .) The 100Wpc (into 8 ohms) NHB-108 costs more than $18,000. A lot of change for not a lot of power, but the reviews were unanimous in praising the amp's exceptional sound quality.
The devil's in the details, so here's one detail you should know going in: The El Diablo, a deceptively modest-looking, casket-like, compact, three-way loudspeaker from Danish firm Peak Consult, will cost you a penny less than $65,000/pair. Why? Yes, the dollar's continued slide has alarmingly driven up the price of imported audio gear, but even so...
These are great times for analog, and I'm happy to have played a small part in the revival, but recently the demand for some products has outstripped supply; getting review samples has been next to impossible. I've requested an Audio Research PH7 phono preamplifier for literally years now, but ARC can't build them fast enough, so they don't need a review. The more they sell, the greater the buzz, and the greater the buzz, the more e-mails I get from readers asking for a review. It's not nice to not be needed.