There are some people in the industry who now know my name or at least know of me. Urs Wagner from Ensemble always chats me up. I should give him a ring. Hart Huschens from Audio Advancements is another sweet soul who treats me with respect. And I have spent a good amount of time talking to Creston Funk from Concert Sound.
Alas, there is some humanity behind the Buyer's Guide.
It's not nearly as sexy as the Bellari VP129, but I was still happy to receive it. The Exposure 2010S's phono card ($219) arrived on Thursday afternoon, secured in bubble wrap and covered by Styrofoam peanuts. There were no instructions.
Reader Charlie S. wonders what you use for digital music these days? What is your <I>primary</I> digital front end?
Back in the Spring of 1988, I was sent a pair of diminutive two-way speakers that totally redefined for me what miniature loudspeakers were supposed to be about. That model, <A HREF="http://www.stereophile.com/standloudspeakers/526">Acoustic Energy's AE1</A>, may have offered short measure in the low-bass department, but its apparently effortless dynamics, musically natural balance, and tangible imaging made it a winner. It also broke the mold of modern audiophile speaker design by featuring a 4.5" woofer with a metal cone just 3.5" in diameter. (Various companies have experimented with metal-cone drive-units in the past, only Ohm and pro-sound company Hartke having had any previous commercial success, though Monitor Audio now also offers a range of speakers with metal-cone woofers, their Studio line.) Since that time, Acoustic Energy has tried to produce a full-range speaker that built on the success of the AE1, but with only limited success, in my opinion. While their AE2 added a second identical woofer, and offered useful increases in bass extension and dynamic range, I felt it to be too colored in the midrange to be a real audiophile contender (see Vol.13 No.2, February 1990, p.134.)
<B>TAKE 6: <I>He Is Christmas</I></B><BR>
Reprise 26665-2 (CD only). Take 6, prods.; Robert Charles, Mike McCarthy, Warren Peterson, engs. DDD. TT: 35:34
I plugged in the little guy, and his little tube started to smile a low, warm orange. While he heated up, I walked over to my record collection. I needed a reference: Where Have I Known You Before by Return to Forever, one of my favorite albums of all time. I plugged my Grado SR60s into the VP129's headphone jack.
The Bellari's bold packaging induces pride of ownership. And patriotism.<br>
Plus: The ladies like it.
Ariel's two new favorite toys—one found in the garbage, and one bought with his hard-earned cash: The <a href="http://blog.stereophile.com/stephenmejias/like_an_old_friend/">Sony CFM-10 Radio Cassette-Corder</a> and the Bellari VP129, one-tube wonder.
Whenever an audio high-ender thinks about tubes, he usually thinks about Audio Research. This is only natural, because Audio Research Corporation was almost single-handedly responsible for saving tubes from oblivion in the early '70s when everyone else switched to solid-state. But ARC was soon joined in its heroic endeavor by an upstart company called Conrad-Johnson, which entered the fray in 1977 with its PV-1 preamp, priced at an affordable (even then) $500.
Determined to find out more about <A HREF="http://www.stereophile.com/floorloudspeakers/608revel">Revel's Ultima Salon2</A>, I tracked down designer <A HREF="http://www.stereophile.com/interviews/390voecks">Kevin Voecks</A> late on the second day of the <A HREF="http://blog.stereophile.com/ces2008">2008 Consumer Electronic Show</A>. I persuaded him to step outside the demonstration suite of Harman International Industries, Revel's owner, high atop the Las Vegas Hilton. We spent an hour chatting about Voecks's design goals for Revel's new flagship. I asked Kevin what had led his team at Revel to develop a new Ultima Salon loudspeaker after 10 years?