LATEST ADDITIONS

Last year, on the hunt for high-quality espresso beans, I visited some specialty coffee websites. On one forum, I came across this description of a particular roast: "I tasted mild acidity and bitters with hazelnut, bourbon, and a hint of dark cherry. As it began to cool, there was a hint of black raspberry syrup or cordial. Then a dominant note emerged of nuts with mild distillates, walnut bitters, cacao nib and something between 82% dark chocolate and baker's chocolate. ... Further cooling offered the surprise of dark piecrust and a bitter cherry liqueur. The piecrust then rounded to a slightly sweet dark rye. There was a lingering aftertaste of single malt scotch that eventually faded to baker's chocolate with a hint of ashiness."

I had enough self-awareness to realize that in the hi-fi world we sometimes prattle on about hi-fi in ways that, to outsiders at least, must seem just as fustian and florid.

Luxman occupies an unusual place in the hi-fi world. While many of the brands chasing ultimate performance will battle it out in the bleeding-edge design stakes, Luxman makes what I like to call luxury equipment. Everything they produce is beautiful, not just to the ear, but also to the eye and hand. Their design aesthetic keeps one foot firmly planted in the style of classic audio equipment from decades past—for example, many of their amplifiers have tone controls and big power meters, features reminiscent of topflight gear from 40 years ago—while the other foot is up to date with the latest technology...

The PD-151 MkII record player ($5695) is an excellent example.

As an upstart journalist-flâneur, my basic urge is to step on the gas and let my '54 Buick careen down the freeway, crashing into guardrails on both sides. Old Buicks were built for that, and I would love to take readers on one of those kinds of rides.

But when I write this monthly column, I find myself aiming for a different feel, more like driving cross-country in a '70s Ford station wagon, documenting motels and gas stations. A trip where it's fun to roll easy, take in the views, and stop at every car museum, snake farm, and stalactite cave.

This month, I'm going to put some miles on the Ford's odometer as I investigate the effects of Ron Sutherland's newest current-drive creation: a $3800 transimpedance moving coil headamp called the SUTZ. Along the way, I will also re-review Dynavector's $1250 DV-20X2 moving coil cartridge and examine what might be the sweetest spot in Dynavector's cartridge lineup: the $2150 XX-2 MKII.

In Tampa, Latvian brand Aretai made another very good impression with its 100S speaker, a 2.5-way standmount in a sealed box ($9000/pair). Visually this speaker was among the more arresting offerings at the Florida expo: a neodymium-magnet tweeter in a handsome white horn sits atop a 16"-tall, matte-black enclosure. (The 100S is also available in piano gloss and various wood veneers.) Each speaker has two 6" drivers that deliver bass down to about 32Hz.

Although TAD is a Japanese brand, there's something dry, almost German about the name, which stands for Technical Audio Devices. It's comparable, in my book, to T+A, one of Germany's leading high-end companies, whose initials mean Theorie + Anwendung—that's Theory + Application. I like this just-the-facts approach, as long as the products leave room for emotion . . . maybe even a spot of sorcery. On that score, no worries about either brand.

After a years-long absence, TAD is back on the US market, represented by Dave Malekpour of Massachusetts' PAD Hifi Distribution (PAD stands for Professional Audio Design. Were these two made for each other or what?)

While my collection of personal audio is pretty much complete (with high-end entries from HiFiMan, Audeze, Focal, and Sennheiser), I'd consider an addition from Britain's Warwick Acoustics if I were currently in the market for further headphone bliss. Warwick's Aperio Black (above)—a $32,000 combo of a balanced electrostatic amp/energizer plus an accompanying open-back headset—is near the top of Mount Olympus.

A friend had advised me to go listen to the single-ended Auris Nirvana IV headphone amplifier ($5700), deeming it "in some ways" an improvement over Auris's beloved Headonia model. Mission accepted.