The very first amplifier I bought was a Harman Kardon PC-200, aka The Prelude. It was a 10Wpc integrated, but I chose it over the competition for some of the same reasons that the HK 990 has appealed to me. Almost all amps back in the1960s had a plain cake-pan chassis with tubes, capacitors, and transformers studding the top. Integrated amps had the standard four knobs on the front for input selection, volume, bass, and treble. The HK PC-200 had an enclosed black chassis cage that formed a graceful cowl over the brushed-copper front panel and the six matte-black knobs: for Input selection (with three phono turnover settings), Volume, Bass, Treble, Loudness contour, and Treble rolloff. In addition, it had a Rumble Filter switch. The PC-200 was not only more beautiful than the rest of the push-pull competition powered by EL84 tubes, it also had more useful features. (Take that, you fans of the Grommes Little Jewel!). Over the decades, H/K products have always been stylish and innovative, but in today's fractured marketing world, most such creative energies are applied to audio/video receivers and lifestyle products.
As I write this, in early August, the global economy is in flux and the stock market gyrates, seeming in stark contrast with the gleaming, luxurious audio components that surround me. Perhaps there is some prescience in my rising interest in reasonably priced, high-performance products, as exemplified by the Oppo Digital BDP-95 universal Blu-ray player, which I reviewed in this column in September. Surely there must be other products that provide truly excellent sound at prices strikingly lower than expected.
The apparent demise of Audio Alchemy left a niche in the marketplace for a supplier of innovative, high-value digital components to provide the less-than-wealthy audiophile with state-of-the-art technology. Although Camelot Technology existed before Audio Alchemy went away, they have quickly taken over this niche with some interesting components. And I understand that some of the former AA technical personnel consulted for Camelot in the development of these products. (A recent press release indicates that Genesis Technology also played a major role in their design.)
The Dragon Pro is, I believe, the most eagerly awaited of the Camelot products. Since the disappearance of Audio Alchemy's DTIPro 32, no comparable anti-jitter and resolution-enhancement product has come along to replace it. (Yes, there are simpler anti-jitter boxes, and there is the Genesis Digital Lens, but these are not truly comparable in approach.) Well, the Dragon is everything that the DTIPro 32 was, and more!
The Dragon Pro anti-jitter box offers both jitter reduction and resolution enhancement, along with I2S in/out. Considering the number of Web newsgroup ads from folks wanting to buy AA DTIPro 32s, this baby has a waiting market.
I began my July column by talking about how quickly things are changing these days in multichannel audio. What I didn't pay enough attention to is that some things can change quickly enough to create inefficiency. Given that most multichannel digital products are based on digital signal processing (DSP), and many are network-enabled, they can be updated with relative ease. Almost every preamplifier-processor or A/V receiver I've reviewed has needed a firmware update during the reviewing process, and such updates are de rigueur for Blu-ray players, as more and more features (!) are added to new releases. And in addition to providing new performance features, firmware updates often also include corrections for operational glitches that have slipped by the designers and their alpha and beta testers, no matter how assiduously they've done their work.
KEF and I go way back. As a very young man in the 1960s, I was obsessed with building speakers, and that was just about the time that KEF founder Raymond Cooke was revolutionizing driver design by using new synthetic materials for cones and surrounds, and experimenting with such innovations as transmission-lineloaded midrange drivers. I found it all very heady and, by direct import from the UK, obtained versions of the oval, flat-diaphragm B139 woofer, the Bextrene-coned B110 and B200 woofers, and the T-15 and T-22 dome tweeters. Fifty years ago, this was all cutting-edge speaker technology.
Today's New York Times carries a brief obituary notice of the passing of audio innovator, Peter Pritchard, on August 23 in Austin, Texas at the age of 83. Peter founded Audio Dynamics Corporation in New Milford, CT in the early 1960's. His original ADC-1 ("Tip mass: 0.6 mg. Compliance. 20x106cm/dyne, all directions. Playing weight: 1 gram or less in top quality arms") was a breakthrough product. Indeed, all ADC pickups were notable for their extremely high compliance and low tracking forces and he pursued this approach through a series of successful designs including the well-known ADC-10, ADC-25 and XLM cartridges. They were all based on his "induced magnet" principle, which derived from the older GE variable-reluctance cartridges that had been game-changers for affordable magnetic phono pick-ups in the 1950s.
Things move fast in multichannel. No, I'm not referring to the speed of sound effects as they whip around a roomlet's leave that for the home-theater mags. I'm talking about audio technology. Since I began writing this column in June 2003, we've seen serious technological changes almost annually, some driven by real needs, some imposed by marketing considerations. To me, the rate of change seems strikingly rapid, compared to that of the products I review for the main portion of Stereophile, based, as they are, in the two-channel world.
Every few years, it seems, Sony offers a statement product. Sometimes they do it to define a new product categorythe SCD-1 introduced to the world the SACD/CD player. Sometimes they do it because they can, as with the outstanding ES SS-M9 and ES SS-M9ED loudspeakers, enthusiastically reviewed by John Atkinson in Stereophile in September 1996 and August 2001, respectively. So when I heard that Sony would introduce a special new speaker at a "by invitation only" event at the 2011 Consumer Electronics Show last January, my interest was piqued. I've always kicked myself for not buying a pair of ES SS-M9s ($3500) when I could have. The ES SS-M9EDs were even better, said JAand, at $16,000/pair, a lot more expensive. Now, a decade later, Sony has decided to make another "statement."
As B&W's 800 Series has evolved, Stereophile has reported on its progress. Lewis Lipnick reviewed the Matrix 801 Series 2 in 1987, and Wes Phillips wrote about the Nautilus 801 in 1999. I reviewed the B&W 800 Signature in 2002 and the 802D in 2005. This is getting to be a habit.