Robert J. Reina

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Robert J. Reina Posted: Jul 31, 2014 1 comments
I've long been impressed by the design, construction, and sound of the tubed electronics produced by Vladimir Lamm, but I'd never had a Lamm Industries product in my house. So I asked for a review sample of Lamm's flagship line-stage preamplifier, the LL1 Signature.
Robert J. Reina Posted: Jun 25, 2014 Published: Jul 01, 2014 3 comments
Phase Technology, a speaker-making division of MSE Audio based in Jacksonville, Florida, celebrated their 30th anniversary last September, at the 2013 CEDIA Expo, by reissuing of one of their first products, the PC-60 bookshelf loudspeaker, now updated with new drivers and crossovers. Dick Olsher reviewed the PC-60 for Stereophile in 1984 (footnote 1), and three decades later, John Atkinson thought it time to revisit this classic design, especially as the company's founder, the late Bill Hecht, was the inventor, in 1967, of the soft-dome tweeter. The PC60 CA (the CA stands for Classic Audiophile) intrigued me as well—despite having reviewed audio gear for 30 years and attended audio shows for even longer, I'd never heard a Phase Technology speaker. And with the PC60 CA costing $1400/pair—currently the hottest price point for high-performance bookshelf models—I couldn't wait to hear it.
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Robert J. Reina Posted: Jun 02, 2014 0 comments
When I began my journey into audiophilia, I was in awe of the Audio Research Corporation's flagship SP preamplifiers. As I sat there in the early 1980s with my modest Apt Holman preamp, all of my friends had ARC SP6Bs. By today's standards, the SP6B was colored, did not portray a realistic soundstage, and lacked sufficient gain to amplify the low-output moving-coil cartridges of the day. But it had an intimacy in the midrange that was intoxicating. (Still considered a classic design by many, the SP6B's price on the used market has remained virtually unchanged for 30 years.) Then, still in the early '80s, ARC raised the bar with the SP-10 ($3700). It had 15 tubes and an outboard power supply, and set a new standard for delicacy, drama, and authority. (John Atkinson still has the SP10 he bought in 1984.)
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Robert J. Reina Posted: Apr 07, 2014 0 comments
When Carolyn Counnas, co-founder of Zesto Audio, contacted editor John Atkinson to ask about getting the Leto, the company's tubed line stage preamplifier ($7500), reviewed in Stereophile, JA suggested that I do the job. I'd recently reviewed competing designs from Nagra and VTL (see reviews in April 2013 and June 2013, respectively) and I was thrilled—I always look forward to hearing a tube preamp from a company I'm unfamiliar with, and besides, I'd seen pictures of the drop-dead-gorgeous Leto. After nearly 30 years of reviewing all sizes and pedigrees of preamps, power amps, and integrateds, I'm weary of staring at nondescript rectangular boxes in various shades of silver and black.
Robert J. Reina Posted: Jan 30, 2014 Published: Feb 01, 2014 1 comments
I've long kept an eye on Michael Creek's loudspeakers (Epos) and electronics (Creek). He's always moving forward, with either updates of current designs or a revamp of an entire product line. And though I've found that many of his new-product ideas tend to feature evolutionary rather than revolutionary sonic improvements, I've found that they always represent excellent sound quality for the dollar in an increasingly competitive marketplace.
Robert J. Reina Posted: Dec 30, 2013 Published: Jan 01, 2014 0 comments
I've loved the neutral, detailed, involving sound of Sonus Faber loudspeakers for as long as they've been available in the US. Most of my listening to them, however, has been at audio shows, and during a visit to Audio Research Corporation in 2012. (Since 2008, both ARC and Sonus Faber have been owned by the Italian firm Fine Sounds SpA, and since then ARC has used speakers made by SF, as well as by Wilson Audio and Magnepan, in the design of their electronics. Fine Sounds also owns 100% of Wadia, McIntosh, and Sumiko.)
Robert J. Reina Posted: Oct 31, 2013 Published: Nov 01, 2013 5 comments
I was introduced to audiophilia by my friend Gary Gustavsen. Although I'd known Gary since I was 13, I didn't discover his passion for music until that day in high school physics lab when I blurted out an obscure line from the Doors' "The Soft Parade," and Gary bounced back immediately with the next line. It turns out I shared my friend's passions for the Doors and Frank Zappa, but not for Mahler. Before long, Gary was dragging me to every audio store in our area to listen to potential speakers for his first high-end audio system. At the beginning of each trip he'd say, "Right now I'm partial to the Rectilinear 3s." Although I heard him say that many times, I never actually got to hear a pair of Rectilinear 3s.
Robert J. Reina Posted: Oct 09, 2013 2 comments
In a recent email, a reader, having read my review of the Monitor Audio Silver RX6 loudspeaker in the June 2012 issue, said that he'd like to see it compared with the similarly priced Wharfedale Diamond 10.7 ($1299/pair) and Epos Elan 10 ($1000/pair). That sounded interesting. The floorstanding 10.7 is the flagship model of Wharfedale's Diamond series, six models up from the Diamond 10.1 bookshelf (which I reviewed in reviewed in July 2011) and featuring the same dome tweeter. And the Epos Elan 10 essentially replaces the Epos M5i, which I reviewed in February 2011, and which has served as my reference bookshelf speaker ever since. I requested samples of both. (My review of the Epos Elan 10 is scheduled to appear in the February 2014 issue.)
Robert J. Reina Posted: Sep 06, 2013 4 comments
As the years pass and I turn into a crotchety old man, I'm reminded of those old TV ads for the Honda Accord: "Simplify." Even though I now have more things going on than at any other point in my life, I try to eliminate complications everywhere I can. I now can't believe that, for over 15 years, I used the Infinity RS-1B as my reference loudspeaker. Sure, I loved it—the RS-1B was the first speaker I'd owned that produced a wide, deep soundstage, the full dynamic range of an orchestra, and bass extension down to 25Hz. But it was ridiculously complex: a five-way design with three different driver types and a servomechanism for the woofers. It also required biamplification—I got the best sound with a combination of high-powered tube amp and high-current, solid-state amp.
Robert J. Reina Posted: Aug 01, 2013 3 comments
It seems I'm always reviewing an integrated amplifier from Creek Audio. It started in the late 1980s, when I fell in love with the capabilities of inexpensive, well-designed audio equipment, sparked by the spectacular sound of a pair of Celestion 5 bookshelf speakers at a Consumer Electronics Show in Chicago. I was reading an issue of Hi Fi Heretic (now defunct), for which my friend Art Dudley wrote, and it included a survey of various inexpensive British integrated amplifiers, some of them made by Creek. I was already familiar with the company, but hadn't listened to affordable British electronics since I'd lived in London, in the early '80s. I got a Creek 4140s2 integrated and was amazed at its neutrality, its lack of etched sound, its natural reproduction of instrumental timbres. I ended up buying it, and used it to review bookshelf loudspeakers.

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