LATEST ADDITIONS

Even if Darren Myers's name isn't familiar, you still may have heard—or at least heard about—hi-fi components he designed, including the PS Audio Stellar phono preamp, which garnered Stereophile's Analog Product of the Year Award in 2020.

After working on projects for Classé and Bowers & Wilkins, Myers was hired by PS Audio, where he ended his tenure as senior analog design engineer. Myers recently joined Parasound (footnote 1) following the company's acquisition by David Sheriff.

After a lot of hard work, Vitus Audio arrived in Munich with a new Signature DAC, the SD-025 Mk.II (€26,500), and new SM-103 Mk.II monoblock amplifiers (€70,000/pair). Allied with other Vitus equipment), the system offered bountiful color, snap, and excellent low bass on a CD of Mathias Heise performing "Quadrillion." Having just viewed a bit of a Heise's live performance of the piece, I find myself extremely grateful for the opportunity to close my eyes and focus solely on the music.

SteinMusic's apparent paradox, a striking black-and-white equipment array that's on track to win my Looker Award of High End 2023 but that delivered maximally colorful sound, attracted throngs to the company's room. On Sir Simon Rattle's recording of Stravinsky's The Firebird Suite, performed by the City of Birmingham Orchestra, and Musica Nuda's live recording of "I Will Survive," Holger Stein's system delivered an arresting three-dimensional soundstage and marvelous range of colors.

This sign may not look auspicious, situated as it is over a trash basket. But this poster next to the exit stairs of the Kieferngarten stop of the U-Bahn, Munich's equivalent of the Bay Area Rapid Transit (BART) system's network of underground and overground trains, was essential for people walking from the train to Munich High End's home in the MOC.

Nor was it the only sign I encountered. Many subways stops—even the airport—displayed large posters announcing the annual well-attended Munich High End audio show.

The most money I've ever spent on a pair of loudspeakers was back in the early 1990s, when I bought a pair of used TAD TH-4001 wooden horns and their associated TD-4001 compression drivers. The TAD horn's smooth, micro-resolved response was a refinement upgrade from my multicell Altec horns; plus, the TADs' French-polished wood looked radically less industrial than the soldered-tin, tar-filled 1005/288C horns they replaced. None of my horn-fanatic friends had anything sonically or aesthetically comparable, and all of them were envious. I didn't keep the TADs long, because the friend who admired them most made me a very "friendly" offer.

That was my first experience with Japanese loudspeaker design, and it exposed me to a level of engineering precision and fine craftmanship I had not yet encountered in American-made speakers.

This, Stereophile's June 2023 issue, is the 50th I've produced as editor. That seems like a lot—yet the four-plus years it took have flown by; it seems impossible that I've done this 50 times already. Still, the main thing it makes me think is how inexperienced I remain: It will take another 28 years to match JA1's record. That's unlikely to happen: I'm not sure when I'll retire, but I hope it will be before I turn 87. What have I learned? I've learned a lot about producing this magazine, and I've gained a lot of detailed knowledge, especially about specific hi-fi components. I've gained some broader knowledge, too, including a deeper appreciation for the crucial importance of the time domain in hi-fi—of the fact that music happens in the time domain and we experience it there. In the very best systems, that fact is respected and exploited.

Over the last 40 years, I have set up or serviced literally thousands of turntables, and during that time I have seen a lot of increasingly sophisticated tools become available to help in getting your turntable optimized. I've had my eye on the Shaknspin speed analyzer since it was launched a couple of years ago, and now there's a new Shaknspin2, which promises more accurate results.