I knew nothing of Ypsilon when I first saw its products in a room at an overseas audio show. Even though the speakers in this system were complete unknowns, I was convinced that it was the electronics that were responsible for the magical balance of what I was hearing. That was confirmed when I reviewed the VPS-100 phono preamplifier in August 2009 and PST-100 Mk.II preamplifier in July 2011.
At the 2012 Consumer Electronics Show, I spoke with Lyra's Jonathan Carr about the Atlas. He told me that, rather than having started as a blank sheet of paper, the Atlas is an outgrowth of the Kleos ($2995), which I reviewed in January 2011, when I thought it Carr's best balanced design yet, even if it didn't have quite the resolution of the Titan i. Like the lower-priced Delos ($1650, reviewed in August 2010), the Kleos included Carr's New Angle technology, which mechanically aligns the coils to be perfectly positioned relative to the front and rear magnets when the stylus is in the groove.
What better way to celebrate the expiration of a noncompetition clause than to debut a product that has no competition? That's what Dan D'Agostino appears to have done with his Momentum monoblock amplifier ($55,000/pair)his first new product since leaving Krell, the company he cofounded more than 30 years ago.
The Wilson Audio Specialties Alexandra XLF costs $200,000/pair. So does a Ferrari. Perhaps if Wilson Audio Specialties sold as many pairs of XLFs as Ferrari sells cars, the price might drop. For now, $200,000 is what you pay.
Can a loudspeaker possibly be worth that much? Add $10,000 for speaker cables, and that's what I paid for my first home in 1992. Today, the average American home costs around $272,000, which is likely less than the cost of an audio system built around a pair of Alexandra XLFs.
Mark Levinson founded Mark Levinson Audio Systems in 1972, but sold it, and the right to market audio gear under his own name, to Madrigal Audio Laboratories, then owned by the late Sandy Berlin, in 1984. Harman International bought Madrigal in 1995. As well as Mark Levinson, Harman's Luxury Audio Group now also includes digital processing pioneer Lexicon, speaker manufacturer Revel, and JBL Synthesis. The Mark Levinson brand is now headquartered in Elkhart, Indiana, at the Crown Audio facility, another Harman-owned brand. The No.53 ($25,000 each; $50,000/pair) is Mark Levinson's first new Reference series monoblock since the No.33, way back in 1993, when Madrigal owned the company. Like other Mark Levinson products, it is manufactured at an independent facility in Massachusetts.
A recent (unpublished) letter to the editor argued that the reference for audio perfection is the sound of real instruments in a real space. The writer claimed that, since the art and/or science of audio is advancing, and because it is a "scientific truth" that the closer you get to perfection, the less divergence there is components, that therefore there should be less difference in sound among the components listed in Class A of Stereophile's "Recommended Components" than among those in Class B, much less Class C. This should be true of loudspeakers, he said, but even more true of top-rated amplifiers, since "they inherently have less divergence."
London phono cartridges still carry the famous Decca name (even if only in parentheses), but they are now produced by John Wright, a precision engineer and ex-Decca employee. Wright (not to be confused with his IMF and more recent TDL loudspeaker-designer namesake) was assigned the rights in 1989 by Decca's Special Products division (footnote 1), when the company's new owner, Racal, decided that they didn't want to be involved in the manufacture of audio equipment. Wright worked for 20 years in Decca's phono-cartridge division, where he gained a wealth of experience. As well as manufacturing the current range of London cartridges, he is also responsible for servicing and overhauling older Decca models.
I approached this loudspeaker much as some of today's political candidates might approach sex: as a means of reproduction, not pleasure.
I brought it on myself. I asked to review Joseph Audio's stand-mounted, two-way Pulsar because I felt an obligation to step down from the rarified air of some of the absurdly priced gear I've been reviewing lately and sample something more "affordable." The Pulsar costs $7000/pair.
The all-FET, class-A, B2B-1 phono preamplifier ($1749), made in the US by Liberty Audio, is beautifully built inside and out, and comes in a heavy-duty aluminum chassis with a baked-on crackle finish and a 3/8"-thick, black-anodized faceplate. The overall build quality and physical appearance suggest something that costs more than $3000, which is probably what it would cost were it sold through retailers and not factory direct. It comes with a two-week return policy.
Everyone's got their prejudices, and mine are against turntables with box-like plinths and big slabs of undamped acrylic. I have no problem with either in models that cost a few grand or less, but once you get into high-priced terrain, less plinth and less acrylic usually yields better performance. Generally, though, all a plinth gets you is a vibrating surface to transmit or store and release energy. Who needs that? If your high-performance 'table has a plinth, you need to heroically damp it the way SME does in its Model 30, and the way Rockport did in its System III Sirius.