In 2009, I wrote about Luxman's entry-level solid-state integrated amplifier, the L-505u ($3700), and their near-universal (no Blu-ray) disc player, the DU-50 ($4990, now discontinued). I was very impressed by their performance and their quality at those prices. Indeed, I think I commented on these models in no fewer than five columns back then.
Here we go again! Come up with a list of classical pieces, and if your list is one of the skillfully crafted winners, you'll win your choice of a single CD from Stereophile's online store, and your list and all the other winning entries will be posted online for the admiration of all and sundry. This year's write-in contest will be somewhat more challenging than the last three, but I'm sure many of you will be up to it.
KEF: 50 Years of Innovation in Sound
By Ken Kessler and Dr. Andrew Watson. GP Acoustics International Limited, 2011. $89.99. Hardcover, 12" by 12" by 0.9", 216 pp. ISBN 978-988-15427-4-8. Available from selected KEF dealers and Amazon.com.
Ken Kessler's latest "coffee-tabler" (my favorite publishing-industry insider neologism) celebrates the 50th anniversary of the founding of KEF Electronics by documenting the history of the venerable loudspeaker manufacturer. While the book doesn't quite start with a bang, it does start with an evocative vignette. The year was 1979, the place the ballroom of Buckingham Palace. Her Majesty the Queen, about to present KEF's founder, Raymond Cooke, with the medal representing his having been made an Officer of the Most Excellent Order of the British Empire (OBE), inquired, perhaps formulaically, "This is for loudspeakers?"
I've been reading a fascinating book, Leonard Shlain's The Alphabet Versus the Goddess: The Conflict Between Word and Image (New York: Viking, 1998). Shlain's thesis is that the invention of the alphabet was the cause of immense changes in primitive society, upsetting previously widespread norms of gender equality and horizontal (rather than hierarchical) social relations in general.
My "As We See It" in the July 2011 issue seems to have touched a nerve. At the AXPONA NYC audio show last June, more than one person stopped me in a corridor to take issue with what they thought I'd written.
That column certainly brought the Beethoven worshippers out of the woodwork. Look, I revere Beethoven, and I stand by what I wrote in the July issue: There can be little doubt, in terms of his impact on the course that Western music would follow, that Beethoven was the most important composer. But "most important" in terms of music history is not the same thing as the composer whose works most deeply touch my heart. For that, Beethoven is just not in my Top Five.
In large part because I was fascinated by the potential of Direct Acoustics' Silent Speaker II loudspeaker ($748/pair) in affordable systems (see my columns in the June 2011 and August 2011 issues), I rounded up three CD receivers that are network- and Internet Radioready and cost under $1000: one each from TEAC, Marantz, and Denon. These models are functionally and cosmetically more similar than different, and, it turned out, sounded more alike than not.
When I was a young music lover, I'd often listen to Simon and Garfunkel's Parsley, Sage, Rosemary and Thyme LP, specifically the song "Scarborough Fair/Canticle."
Are you goin' to Scarborough Fair?
Parsley, sage, rosemary and thyme.
Remember me to one who lives there,
She once was a true love of mine.
That memory came back during the e-mail exchanges I had with John Atkinson and Stephen Mejias about the positives and negatives of the proliferation of regional audio shows. (JA's reflections on these shows were the subject of last month's "As We See It.")
I think any newish company launching yet another expensive (ie, anything over $2000) digital-to-analog converter on the roiling waters of the audiophile marketplace needs at least two things: a truly great product, and a good story to tell. I think Bricasti Design Ltd., of Medford, Massachusetts, has both.
Direct Acoustics is a loudspeaker company in Weston, Massachusetts, that sells, by mail-order only, just one product: the two-way, floorstanding Silent Speaker II ($748/pair).
Its seemingly paradoxical name refers not to any inability of the Silent to create sound, but rather is intended by its maker to indicate two aspects of its performance. First is the ability of the loudspeaker boxes to "disappear" in the sense of not being readily apparent as sound sources. Well, okay, everyone wants that. The other intended sense of Silent is that the woofer and its loading arrangement were designed to minimize stray noises created by the woofer's excursion, or by the movements of air within, or in and out of, its vent or port.
When people feel passionately about somethingwhether books, golf, auto racing, dog breeding, or musicthere is an understandable impulse to create rankings, hierarchies, and lists. Such lists can be helpful. I am quite likely to read someone's list of The 100 Most Important Jazz Recordings, or of The 100 Greatest Novels in the English Language. Engaging with such rankings and lists has several benefits. First, we all like to see our prejudices validated. When I discover that someone else is also a fan of Ralph Vaughan Williams's An Oxford Elegy, or of Herbert Howells's Master Tallis's Testament, I feel a warm glow of kinship, and feel that my respect for that person reflects well on me. (We are all human, after all.)