LATEST ADDITIONS

Ever since I stopped using my Audio Research SP10 preamplifier in the early 1990s—its eight phono-stage tubes used to get too noisy too quickly—I tried a variety of standalone phono preamplifiers. Seeing the most service through the 1990s and 2000s were, first, a Mod Squad Phono Drive EPS, then a Linn Linto, both of which I purchased. But when I measured Channel D's Seta Model L, which Michael Fremer reviewed in the August 2010 issue, the Linto was pushed to one side. The battery-powered Seta L (footnote 1) had the lowest noise and distortion I had encountered in a phono preamplifier, and I eventually bought the sample I had been sent for a follow-up review in 2013.

Last month, I received so few vinyl reissues that I had to invite a guest writer—jazz critic and political commentator Fred Kaplan—to fill in. Fred had managed to grab an early copy of the excellent Analogue Productions 45rpm reissue of Bill Evans at the Montreux Jazz Festival. I didn't get mine until a week or so after his review was submitted.

This month, I have a tall stack to choose from, so I'll mention several.

It was a "Wow!" audio moment I'll never forget. It happened just after Ladies Who Lunch, our regular Friday afternoon lunch-n-chat for audio poobahs at the Grand Sichuan restaurant in Chelsea. It was dark at 4 o'clock, and the first snow of winter looked enchanting under the 24th Street streetlamps. Audiophiliac Steve Guttenberg and I were accompanying our turntable setter–upper friend Michael Trei to Bob Visintainer's Rhapsody Music and Cinema, where Trei was scheduled to install a Lyra Etna SL cartridge on a TechDAS Air Force III turntable. I tagged along to chatter with Bob and listen with Steve to Alta Audio's tall, open-baffle Titanium Hestia loudspeakers. Rumor had it that this was a happening system.

The sense of hope I've been feeling may have started with those Sinatra swells, the on-hold music I heard when I called to interview the first audio dealer I talked to for this story. I wanted to know what's been happening with their businesses during the pandemic. Are there reasons for at least cautious optimism?

I was doing my press beat for Stereophile in the hallway of Montreal's 2019 Audiofest when I glimpsed something that stopped me in my tracks. It was a marketing slogan, across the room on importer/exhibitor Goerner Audio's floorstanding banner: "Tubes or semiconductors? Magneto-solid technology amplifies emotions."

At High End Mässan 2015—Stockholm, Sweden's big audio show—Marten planned to show off its finest loudspeaker to the hometown crowd. Marten took the hotel's largest demo room, located at the prime location at the top of the stairs, at the entry point to the 2nd floor exhibition space. There, Marten set up a super system (see photo below) featuring the Coltrane Supreme 2 loudspeaker, a towering monolith probably intended more for Asian consumption than for Swedes to bring home to their modest digs. In preshow demos, the Coltranes filled the large room with impressively transparent and effortless sound that was sure to impress show attendees.

What's Next Vivaldi?
Antonio Vivaldi and others
Patricia Kopatchinskaja, violin; Il Giardino Armonico, Giovanni Antonini, cond. and flute.
Alpha 624 (Auditioned as 24/192 WAV). 2020. Jean-Daniel Noir, prod., edit., master.
Performance *****
Sonics ****

Forget almost everything you know about Vivaldi performance practice, authentic and otherwise, and shush all "shoulds." Banish from your mind any thoughts that all Vivaldi sounds the same. Prepare your ears to hear Vivaldi as you've never heard him before.