Conrad-Johnson is one of audio's "marquee" companies, and charges accordingly. The Premier Twelve tube monoblock power amplifier, rated at 140W, sells for a rather steep $3495 each, meaning that unless you listen in mono, be prepared to lay out almost $7000 just for the amplification link in your audio chain. Apparently, many audiophiles feel the money is well spent: according to Conrad-Johnson, the Twelve has been a consistently strong seller during its approximately five-year production history.
I've never heard a pair of the Italian Sonus Faber speakers I didn't like. What I've never liked was the US price: too high. And then you have to put them on costly stands. Plus, you're paying a premium for the magnificent woodworking and exquisite design—something I wasn't into, since I live with my stereo in a basement office/workshop/listening room some (who shall remain nameless) refer to as the "habitat for inhumanity."
When Bob Graham introduced his 1.5 tonearm at the end of the 1980s, many thought he was dreaming: Vinyl was going the way of the console radio—who would invest two-grand-plus in a tonearm? But there was a method to Graham's madness—he'd designed his arm to be a drop-in replacement for more than 20 years' worth of SME arms, all of which shared the same mounting platform. Perhaps, in his wildest dreams, Graham had already envisioned the current "analog revival"—but even without it, he figured there'd be a robust replacement market, and he was poised to exploit it with what he thought was a superior product.
Got a garage, a router, and a band saw? Poof! You're a speaker designer. How many audiophiles dream of buying some raw drivers, some MDF and veneer, building a baffle, soldering up a computer-designed crossover, and assembling the Shmendrick Audio 2001? Plenty.
Prejudice is bad—whether it's directed at people, places, or things. You know how it goes: digital is "bright," analog is "warm," solid-state is "brittle and etched," tubes are "smooth and soft" dynamic drivers are "low-resolution," electrostats and planars are "high-resolution" copper wire is "smooth," silver is "bright," etc. While putting everything that crosses your path into one box or another makes life simpler and seemingly more organized, the truth, musical or otherwise, usually gets mutilated in the process. Not that we all don't have preferences—but those are not the same as prejudices.
What a thankless task! No, not reviewing audio equipment (though the case could be made). I'm talking about preamplification in the digital age: who needs it? The EAD DSP 9000 MK3 digital processor I'm using includes an ingenious full-resolution digital-domain volume control accessible by remote control.
The Sears guy came to our basement the other day to check out the water heater. Staring at the walls of LPs and tiptoeing through the piles of CDs strewn on the floor, he exclaimed, "What the heck are you? A disc jockey?" So I told him.