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I'm fortunate to have reviewed in recent years not one but three different pairs of horn-loaded loudspeakers. My jaw dropped when I reviewed what would prove the finest loudspeaker to ever grace my home, the Volti Audio Rival. Second came a pricey but pleasing pair from handlebar-mustache king Gordon Burwell, the Burwell & Sons Homage. Then, at the urging of occasional Stereophile contributor Steve Guttenberg, I took on the fat-boy Klipsch Heresy III. As the Beatles used to say, I was dead-chuffed.

Thirty-two years after it was recorded, pianist Keith Jarrett’s live reading of J.S. Bach’s Well-Tempered Clavier, Book 1, has seen the light of day.

This is an integrated arm-and-turntable unit using single-belt drive from a stepped motor pulley to an inside platter (under the main one), and having a three-point suspension similar to that in the AR turntable for isolation from acoustic feedback and floorborne vibrations. Speed change is accomplished by a two-pronged "fork" which, actuated by the speed selector knob, throws the belt from one step of the motor pulley to the other. The motor is a special synchronous type that is actually two motors in a single case. Their speed is determined by the frequency of the AC supply, so there is no speed adjustment.

Editor's Note: This is the very first equipment report that was written by J. Gordon Holt for Stereophile, then called The Stereophile. The venerable JGH appended the following warning: The writer of this report was employed by Weathers Industries during the time when the product in question was undergoing development, so in view of this past association, and the doubt it may cast upon the writer's impartiality, this report probably should not be published, even though the writer left Weathers Industries over a year ago and is not bound by any obligations thereto.

One by one, the major amplifier manufacturers have acceded to the pressures of the marketplace and introduced "solid-state" models, whether or not these happened to sound as good as their previous tube-type units. Dynaco was one of the last of the hold outs, preferring, according to their advertisements, to wait until they could produce a solid-state unit that was at least as good as their best tube types. Now, they've taken the plunge at last, with their Stereo 120.

Earlier this year, I had the opportunity to spend a couple of afternoons listening to a system built around the late David Wilson's magnum opus, the Wilson Audio WAMM Master Chronosonic loudspeaker ($685,000/pair), which Jason Victor Serinus reported on in December 2016. In addition to the joy of simply listening to music on such exotic speakers, the experience provided insight into just how well the Master Chronosonics would work in a relatively normal-sized listening room—in this case, one measuring 21.5 feet long by a little over 18 feet wide, with a ceiling height of a little over 9.5 feet: not small in an absolute sense, but a lot smaller than the sort of space usually associated with speakers this large.

Back when the vinyl resurgence was only a gleam in Michael Fremer's eye, most major record labels just couldn't be bothered with the LP. Fans of such masterpieces as Relaxin' with the Miles Davis Quintet, John Coltrane's Blue Train, and Charles Mingus's Blues & Roots had to make do with poor-quality vinyl reissues from small EU-based labels. Sure, there were—and continue to be—audiophile-quality reissues from such companies as Analogue Productions and Speakers Corner, but they often came at a premium price, and a great many classic jazz titles remained unavailable as new, high-quality LPs.