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I am proud of the fact that my first review for Stereophile was of a modestly priced integrated amplifier called the Rogue Audio Sphinx. Specified at 100Wpc into 8 ohms, 200Wpc into 4 ohms (footnote 1), it played the KEF LS50s like it was made for them. It was simple and handsome and cost only $1295, phono stage included.

For the first time in the two years I've been living in this apartment building, I've received a noise complaint from a neighbor. Coincidence?

As it happened, yes it was a coincidence. True, my music was pretty loud, and the bass from the Piega Premium Wireless 701 loudspeaker system ($7495/pair) was anything but reticent, especially considering the tower's sleek appearance. But I was not the source of the specific noise that caused the complaint. That was the sloppy bass from another neighbor's inferior sound system. (The bass from this Piega system isn't sloppy.)

Alice Phoebe Lou: Live at Funkhaus Berlin
Alice Phoebe Lou, no catalog number. Auditioned as 24/44.1 FLAC stream, also available for download at Qobuz and streaming at 16/44.1 on Tidal. Vinyl can be purchased at merchbar.com. 2020. Alice Phoebe Lou, prod.; Paul Scheffler, Noah Georgeson, Zino Mikorey, engs.
Performance ****½
Sonics ***½

Nothing about Alice Phoebe Lou's musical career reflects industry norms. She maintains complete control over every aspect of her work, from creation to release. The result is always original and fascinating. Lou is at her best when she has an audience to connect with; this live performance is an ideal introduction to her powerful voice and courageous message.

After completing a PhD in electrical engineering at Imperial College London, Floyd E. Toole joined Canada's National Research Council (NRC), where he would stay for more than 26 years doing audio-related research. He continued his research at Harman International after leaving the NRC in 1991. When Toole left Harman in 2007 (footnote 1), Harman kept the work up under NRC alum Sean Olive—which fact surely has much to do with the excellence of their current loudspeaker lineup.

The two biggest sonic jolts I've experienced involving phono preamps were from two very different ones: the Petr Mares's Connoisseur 2.0 and Boulder's 2008, which was reviewed in the July 2002 Stereophile. The first was hand-built, single-ended, housed in a wooden case, limited to 100 units, and, when I got to hear it in the mid-1990s, cost around $6000, or about $10,000 in today's dollars. The other was a feature-laden, double-chassis monument to flexibility and surface-mount high technology. It featured beautifully finished, flush-mounted mirrored buttons your fingers just wanted to press.

Ah, yes, headphones again. The market for super–high-end headphones must be small, but manufacturers nevertheless keep introducing new designs. At least two manufacturers—Stax and Sennheiser—seem to have carved out a big chunk of this market for themselves, and are currently slugging it out with their respective takes on the best that electrostatic headphones have to offer.

If I've read it once in mainstream audio magazines, I've read it a hundred times: "The most important component in a system is the loudspeaker, because it is the loudspeaker that makes the sound." Putting aside the obvious illogic of this statement—that without other components in the playback chain, even the perfect loudspeaker can't make a sound—my experience is that it just is not so. Yes, it is true that changing from one loudspeaker to another makes the greatest overt changes in a system's sound.