LATEST ADDITIONS

In 1989, I bought my second pair of Rogers LS3/5a's from a guy on Staten Island who had them hooked up to a Musical Fidelity A1 integrated amplifier. After playing the speakers for me, he began removing his zip-cord speaker cables and paused to show me how, at the amplifier end, his red-plastic Pomona Electronics banana plugs had partially melted from the A1's heat. We both laughed.

After it first appeared in 1985, the A1 quickly became famous for its hot top plate. The top plate got as hot as it did because it was used as a heatsink for the output transistors, which were biased highly into class-A. The A1's hot top made tabloid headlines, but for me it was its bold, sinewy, un-transistory sound and timeless, sharply drawn styling that distinguished it from cooler running Brit-fi competitors such as Audiolab's 8000A, Creek's 4040, A&R Cambridge's A60, and NAD's 3020.

Now it's back, priced at $1779, looking and feeling cooler than before.

It started one evening when I was killing time watching YouTube videos and stumbled across a 2017 talk given by Jonathan Carr, Lyra's brilliant cartridge designer (footnote 1). After discussing his design and Lyra's manufacturing processes for about 18 minutes, Carr opens the floor to questions. Someone asks which of the many cartridge setup parameters he feels is the most important. I was floored when the first thing Carr said was that "horizontal tracking error is not very important at all." What? I couldn't believe I was hearing this from the guy who writes owner's manuals with super-specific specifications, like tracking force measured to a 100th of a gram and loading recommendations with wide but oddly specific ranges like 97.6 to 806 ohms. Did he really believe that the tonearm geometry calculations of Löfgren, Stevenson, et al, weren't such a big deal?

For decades I have painstakingly used the best tools available to perfect these settings with every cartridge I install; now a guy whose opinion I respect deeply is saying it's not very important.

Pull down the shades, find a comfortable seat, and come with me on an imaginary journey to the year 1956. The Eisenhower-Nixon ticket wins reelection, the United Methodist Church begins to ordain women, and a can of Campbell's tomato soup costs 10 cents. Elvis Presley's two-week residency at Las Vegas's New Frontier Hotel and Casino is received so poorly by the middle-aged guests that Newsweek likens it to "a jug of corn liquor at a champagne party." And a Seattle couple gives birth to Kenneth Bruce Gorelick, who will become known professionally as Kenny G.

The hobby that will become "high-end audio" is still called plain old "audio." The top marginal tax rate is 91%, the US boasts more income equality than present-day socialist Sweden, and most of the country's top earners are not panic-room wealthy but merely rich. The prices of hi-fi gear reflect this: Two of the finest power amplifiers you can buy—the McIntosh MC-60 and the Marantz Model 2 (both monophonic, of course)—retail for $198. That's about $2266 in today's dollars, and while certainly not cheap, these products are accessible to a far larger group of hi-fi enthusiasts than "the best" of today (including from McIntosh itself).

The "Bowers" in the name of British manufacturer Bowers & Wilkins (B&W) refers to founder John Bowers, whom I got to know fairly well before he passed in 1987. In recent years, I've reviewed two Bowers & Wilkins loudspeakers: the 705 Signature two-way standmount in the December 2020 issue and the Diamond Series 804 D4 three-way floorstander in the January 2022 issue. More recently, Tom Fine reviewed the three-way, floor-standing Signature Series 801 D4 in March 2024.

Currently there are two models in the Signature Series, which was launched in 2023 to pay tribute to the company's groundbreaking John Bowers Silver Signature from the early 1990s: the 801 D4 and the subject of this review, the two-way 805 D4 standmount, which B&W describes as its "highest performance standmount ever."

While it's a distant memory now that he's making mediocre albums and using his US website to sell $50 T-shirts for gigs in Helsinki, there was a time when Bruce Springsteen had a hungry heart: Hungry to be perceived as a consequential artist. Focused on telling stories and making vivid albums. Alive with conflict and memorable characters. Back in those days, the early 1970s, he broke any number of rules and barriers. In the case of The Wild, The Innocent & The E Street Shuffle, that meant defeating the dreaded sophomore slump.

Jerome Sabbagh: Heart
Sabbagh, tenor saxophone; Joe Martin, bass; Al Foster, drums
Analog Tone Factory ATF 001 (LP). 2024. Jerome Sabbagh, Pete Rende, prods.; James Farber, Pete Rende, Aki Nishimura, Ben Miller, Bernie Grundman, engs.
Performance ****
Sonics *****

It's rare for an artist to win Recording of the Month honors for consecutive albums released within a few months of each other, and frankly, I don't feel great about it. But I cannot pass over Heart, the latest album from Jerome Sabbagh, which he recorded in a distinguished trio with Joe Martin on bass and the legendary Al Foster on drums.

How many times have you been told by parents and teachers that everything successful must be built on a strong foundation? It's true in music, where the low frequencies are the foundation the music rests on, like the basement framing a building. If you get that part wrong, where are you? Sitting in the mud, that's where. With no chance to address beauty in the midrange, texture and air above, or other tasty things.

Youngstown, Ohio–based loudspeaker manufacturer SVS made foundations its specialty, starting at the company's very beginning in 1998, when it started by designing subwoofers and only subwoofers. The company didn't start offering regular loudspeakers, with midranges and high frequencies, until 2012. Over time, SVS's high-value speakers got more ambitious until earlier this year, at AXPONA, it introduced its most ambitious loudspeaker yet, the full-range, three-way Ultra Evolution Pinnacle ($4999.98/pair).