Naim's new "statement" CD player, the CD555 ($20,300 by itself, $28,150 with PS555 power supply), breaks no new technological ground. Rather, in typical Naim fashion, it attempts to optimize 16-bit/44.1kHz CD performance by paying fanatical attention to the devilish details. It doesn't play the DVD-Video, DVD-Audio, or SACD formats, nor does it have a digital output—and it doesn't create an illusion of higher resolution by upsampling the data.
Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.
We were driving to a friend's house to celebrate her dad's 92nd birthday. Halfway there, a bright yellow, ground-hugging insect pulled in front of my car from across street. "Wow, that's a Lamborghini Countach!" I exclaimed. You don't often see one of those in my neighborhood—or in any neighborhood.
A four-day break between the Top Audio Show in Milan (September 14–17) and the Hi-Fi News Show in London (September 22–24) presented the perfect opportunity to accept a longstanding invitation from speaker manufacturer Focal-JMlab to visit its manufacturing facilities in France.
As you read this, are you listening to your stereo? Whatever the music, what you're actually hearing is your public utility's AC as modulated by your power amplifier. No matter how good the gear, the final result can be only as pure as the power feeding your components. Unfortunately, plenty of sonic schmutz usually comes along for the ride.
Best known for its omnidirectional loudspeakers, the German manufacturer mbl also produces three complete lines of high-performance electronics that, despite being large and built to jewel-like perfection, are sometimes lost in the shadow cast by the dramatic-looking—and -sounding—Radialstrahler 101E, which I reviewed in October 2004.
Still burning in my bank of childhood memories are misty images of the glowing green lettering on the McIntosh tube preamps and tuners that populated the windows of the audio stores that once lined lower Manhattan's Cortlandt Street. Leonard's and most of those other retailers are long gone—as are most of the audio brands that shared their windows with McIntosh, and that once symbolized the might of American innovation and manufacturing. Even the World Trade Center, the controversial complex that replaced Cortlandt Street's "Radio Row," where the hi-fi industry was born, is tragically gone.
Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.
There is a sweet spot in any manufacturer's lineup where minimum price and maximum performance meet. More expensive products in the line may offer higher fidelity, but the cost may not be commensurate with the improvement. For instance, VPI's HRX and Super Scoutmaster turntables cost more than their standard Scoutmaster model, and they perform better—but for my money, the sweet spot of VPI's line is the standard Scoutmaster, with or without such options as the outer clamp and Signature tonearm.