The English public may not like music, but they absolutely love the sound it makes.Sir Thomas Beecham
Just as car magazines are filled with descriptions of how fast their subjects don't go and how surely they don't stop, magazines such as ours are filled with descriptions of how neutrally our subjects don't play tones, and how precisely they don't place images in space.
The unusual Miyajima Shilabe moving-coil cartridge ($2800) came to my attention through a friend, and I obtained one from the importer, Robin Wyatt of Robyatt Audio, a music lover and dedicated audiophile who imports gear as a sideline, and who lives nearby in New Jersey.
If you've followed their story here and elsewhere, you probably know that Tokyo's Shindo Laboratory (footnote 1) has a reputation for defying the two most monolithic of all high-end audio commandments.
One more word for unhappy consumers, in any marketplace, who confuse praise for the new with rebuke for the old: 20 years on, I continue to admire the best qualities of my Linn Sondek LP12 turntable (itself not the first LP12 I've owned). I smile to think of all the records I enjoyed during those two decades.
One of my favorite parental duties is dispensing advice that's calculated to make me sound wiser than I am. Among those pearls: Every so often you should change your point of viewyour philosophiesjust to see if your opinions can stand the strain. In doing so, you may discover a few things that are better than you expected them to be!
Over the years, Stereophile and its writers have been taken to task for doing, thinking, and saying any number of things. We've been raked over the coals for enjoying acoustic music, electric music, old music, new music, light music, serious music, and music God put here as a test, just to see if we're smart enough to hate it. We've been taken to the woodshed for comparing new products to known references; for failing to compare new products with known references; for borrowing known references for the purpose of such comparisons; for taking advantage of professional discounts so that we can buy and keep known references for the purpose of such comparisons; for being out-of-touch naÔfs who haven't owned enough gear in our lives to know anything about anything; and for being spoiled, materialistic pigs who have owned so many things that we've lost touch with The Common Man. We've been assaulted for loving analog, dissed for loving digital, tasered for loving tubes, sucker-slapped for loving solid-state, and mauled for loving mono. We've even been impeached, indicted, secretly reassigned to a new diocese, and flown back to Russia without an adult guardian for being overly concerned with current events.
A clever engineer with an interest in home audio says that the real obstacle to high-fidelity sound is the adverse and unpredictable way in which speakers interact with most domestic rooms. To address that need, he brings to market a loudspeaker that disperses sound in a new and original way. Controversy ensues. Controversy endures.
At our best, audiophiles are the selfless and generous custodians of a thousand small libraries, keeping alive not only music's greatest recorded moments but the art of listening itself. At our worst, we are self-absorbed, superannuated rich kids, locked in an endless turd-hurl over who has the best toys.
Before last year, I had no more than a professional interest in the products of Wilson Audio Specialties. But before last year I hadn't experienced Wilson's Sophia Series 2 loudspeaker ($16,700/pair)which, like the wines I tend to order when my wife and I go out to dinner, is the second-cheapest item on their menu. Within weeks of the Sophias' arrival, respect had turned to rapture, like to love, and an entirely new appreciation for Wilson Audio was mine (footnote 1).