One of the most striking aspects of high-end audio is that you can never take any component for granted. Most of the radical change in audio at present takes place in new front-end and speaker technologies, but other components are changing as well—and with at least as much impact in making recorded music seem believable.
If analog disc is fading, it is a twilight of the gods. Tonearms, cartridges, and turntables get steadily better; the overall quality of the best analog disc systems today is far better than it was two years ago. Bruce Thigpen and Edison Price's new Eminent Technology Two tonearm is a case in point. It has evolved from a highly specialized product for only the bravest of audiophiles to a reference quality arm that any dealer can install, and any audiophile can safely use. More importantly, it may have no sonic equal at any price.
The Audio Research D-160B has been heavily modified since the D-160A, and uses the same technology as the D-70, D-115, and D-250. It embodies William Z. Johnson's latest transformer and power supply designs, his latest choice of capacitors and resistors, and the same independent regulation of screens, drivers, and front end. D-160s and D-160As can be converted to D-160Bs for $1500.
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
Now that Stereophile's reporting on the 1985 Summer Consumer Electronics Show has ended (I hope!), I would like to express strong dissent with its style and content. In fact, I believe that most of it should never have appeared in print.
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be Coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be Coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
There is something especially exciting about a new loudspeaker design, if only because speakers are the component where one constantly hopes for the sonic miracle that will suddenly make it all sound real. No other component has the same overall impact in coloring the system, presents more room problems, or inspires more frustration on the road to the perfect system.
The Mod Squad Line Drive System Control Center is a purely passive stereo switching unit with a volume and balance control, five line inputs, and additional facilities for two tape decks. It allows the audiophile to replace a preamp, with its active gain stages—and resulting coloration—with a device that introduces no distortion or coloration other than that in the wiring, switches, and controls.
One of the nicest features of the High End is its diversity. Regardless of whatever trend is fashionable, there will always be manufacturers to buck it, and sell alternative concepts and sounds. VMPS is just such a case. With few exceptions, the recent trend in speaker systems has been toward small-to-medium-sized "monitors" with good imaging and high resolution, but limited bass and dynamics (footnote 1). The VMPS SuperTowers provide the former, but buck the trend by adding reproduction of the deepest bass and outstanding full-range dynamics.
Anthony H. Cordesman
If analog disc is fading, it is a twilight of the gods. Tonearms, cartridges, and turntables get steadily better; the overall quality of the best analog disc systems today is far better than it was two years ago. Bruce Thigpen and Edison Price's new Eminent Technology Two tonearm is a case in point. It has evolved from a highly specialized product for only the bravest of audiophiles to a reference quality arm that any dealer can install, and any audiophile can safely use. More importantly, it may have no sonic equal at any price.
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
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