Yes, it's the same Canon—the Japanese photography, photocopier, and laser-printer giant whose logo for so many years adorned the rear wings of Williams Formula 1 racing cars. Canon's venture into the unknown waters of audio was instigated by the head of the UK-based research center, Hiro Negishi. I have been seeing Negishi-san, one of the world's leading minds in optical technology, at Audio Engineering Society conventions since the early '80s, so I was only half-surprised to see Canon launch first one loudspeaker, then a full range (footnote 1).
Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the Sonus Faber Amati Homage loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (reviewed by Martin Colloms in July 1994), while the third was the Stradivari Homage (reviewed by MF in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.
In his bimonthly column, "The Fifth Element," John Marks has tried to identify pro-audio components that would be of interest to audiophiles. In his June 2005 episode, John wrote about Grace Design's m902 D/A headphone amplifier ($1695), the Colorado company's replacement for the 901, which had long been a favorite of his. Changes include: the handling of single-wire sample rates of up to 192kHz; unbalanced analog outputs, controlled by the front volume control, to allow the unit to be used as a preamplifier; a cross-feed processing circuit licensed from www.meier-audio.de; power-supply revisions; and the provision of a USB digital input, in addition to S/PDIF, AES/EBU, and TosLink.
There are components that stick in a reviewer's memory long after they have been crated up and entrusted to the tender mercies of UPS. When I reviewed the Verona Master Clock from English company dCS in March 2005, the sound it allowed the combination of a dCS Verdi transport, Purcell upsampler, and Elgar Plus D/A processor to achieve from SACD was the best I had heard from my system—better, even, than I remember getting from the EMM Labs SACD transport and processor I had borrowed for a weekend a few months earlier. But at what price? The stack of four dCS components adds up to a cool $45k—"Yes, the complete dCS system is hip," I wrote in the conclusion to my review. "But $45k's worth of hip? That's a question I can't answer, I'm afraid, what with school fees and mortgages and taxes." The megabux dCS stack thus had to go back to the distributor at the end of the review period.
Getting a name check from the mainstream press can be a good thing. But as Wes Phillips wrote in his blog on February 5, "to paraphrase Mason Williams on winning an Emmy Award, 'It's like being kissed by a girl with bad breath—you appreciate the honor, but...'"
How to integrate a computer into a high-end audio system is a hot topic these days. I'm getting more and more e-mails from readers asking for advice, Wes Phillips wrote about transferring his LPs to audio files in his October and November newsletters, and a lively thread on this topic ran on the forum at www.stereophile.com.
As much as I'm tempted by the impressive sweep and scale with which some of the large, full-range loudspeakers endow music, for some reason I find myself more at home with more compact examples of the breed. This is not through lack of familiarity with large speakers, a pair of B&W 801s occupying pride of place in our living room (which also serves as my wife's listening room). Yet I find myself hankering after that ultimate soundstage precision that only minimonitors seem capable of producing: the loudspeakers totally disappearing, vocal and instrumental images hanging in space, truly solid—the prefix "stereo-" is derived from the Greek word stereos, which means solid—so that a rectangular, totally transparent window into the concert hall opens at the rear of your room. In addition, the necessarily limited low-frequency extension offered by small speakers makes it much easier to get the optimum integration with the room acoustics below 100Hz.
Wouldn't you just know it. As soon as I decide on a formal regime of measurements to accompany Stereophile's loudspeaker reviews—see Vol.12 No.10, October 1989, p.166—along comes some hot new technology that changes everything. Robert Harley reported in last month's "Industry Update" column how impressed he and I were with the new MLSSA measurement system from DRA Laboratories.