Émile Durkheim (1858-1917) once wrote, "The less limited one feels, the more intolerable all limitation appears" (footnote 1). Although directed at the paradoxical observation that suicide rates are higher in newly prosperous countries than in those mired in poverty, his comment applies equally well to subwoofers.
All high-end audio companies turn over their product lines periodically. Even those amplifiers I have depended on as references go out of production. Although my reference amplifier can remain a part of the reviewing sequence, readers won't be able to purchase a discontinued model and get the results I describe. Thus I am compelled to get a review sample of a new amplifier or speaker, and hope for the best.
I was trading e-mails with Roger Sanders, manufacturer of the Eros Mk.III electrostatic (ESL) loudspeakers, when it occurred to me to ask him about his name. I was struck that he had the same last name as Gayle Sanders, president of another American electrostatic speaker company, MartinLogan. Were they related? "No," replied Roger Sanders, "it's simply a coincidence that we have similar names. I've never even met him.
Recording artists can reinvent themselves by crossing over into another style of music. Gloria Estefan, who started with Latin music, crossed over into mainstream pop with great success. Doug Sax, who reinvented the direct-to-vinyl disc and produced outstanding LPs for Sheffield Lab, eventually transferred all of his music to compact discs. Ivor Tiefenbrun, designer of the Linn Sondek turntable, now makes CD players.
I first heard Eugene Gigout's pipe-organ masterpiece, the Grand Chorus in Dialogue, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.
Talking to fellow audiophiles, I sometimes hear generalizations about power-amplifier design: "High-power amplifiers don't sound as good as low-power amplifiers." "Tube amps are more musical than solid-state amps." "Class-A circuit designs always sound better than class-AB." "Bridged amplifiers don't image precisely, throw deep soundstages, or have the transparency of non-bridged output stages." Etc.
Sometimes it all comes down to the shape of the side panels. I was smitten by the gentle curves of the Burmester B99 loudspeaker's aluminum side grilles, which have uncommon grace. A love affair with an enclosure? Well, yes. After all, beauty is an intensely personal matter. In the words of Burmester's motto: "Art for the ear."
Say "Type A" to a group of psychologists and they immediately think "hard-driving, workaholic executive." Speak the same phrase among audiophiles, and the late Peter Snell's (1946-1984) flagship loudspeaker comes to mind. The model reviewed here is the seventh iteration of Snell Acoustics' Type A, and this is the 12th published review of the product in American audio magazines. (The last one published in Stereophile was in March 1996, Vol.19 No.3, of the Type A Reference.)
Film sequels are a mixed blessing. If an action movie holds my attention, I can't wait to see the sequel: same characters, same actors, new adventures. And if the first film was successful, studios are more than willing to oblige. So Jurassic Park begat The Lost World, which begat Jurassic Park III. But the results are often unsatisfying.
Sony describes the $700 TA-P9000ES as "a pure audio multichannel preamplifier equipped with two inputs for 5.1 analog multichannel audio sources, enabling selection, volume control, and amplification." A relay with twin gold-plated crossbars switches the two six-channel sources. Then follows a class-A solid-state push-pull amplifier in discrete configuration. Separate transistors, resistors, and capacitors populate the printed circuit boards. An oxygen-free copper shield surrounds each channel to prevent crosstalk between the channels. In addition, there is a relay-controlled gain stage offering 0, +6, and +12dB amplification.