LATEST ADDITIONS

In our February 2019 issue, when I reviewed a new integrated amplifier from Colorado-based Ayre Acoustics, I concluded that "the EX-8 Integrated Hub is a high-end contender at a competitive price" (footnote 1). In that review I promised a Follow-Up in which I would compare the EX-8 with Cambridge Audio's Edge A integrated amplifier, which Ken Micallef had positively reviewed in our January 2019 issue (footnote 2). While I'd enjoyed my time with the EX-8, I'd found its balance rather on the light side, and that it projected voices somewhat forward on the soundstage.

In the November 2018 issue of Stereophile, Jim Austin reviewed PS Audio's DirectStream Power Plant P20 AC regenerator ($9999). PS Audio had sent me the less expensive DirectStream Power Plant 12 ($4999), hence this review.

Why use an AC regenerator rather than plugging components straight into the wall?

I first met Pro-Ject Audio Systems' founder and president, Heinz Lichtenegger, in 2016, at the US launch of the Austrian company's The Classic turntable. His passion for all things hi-fi was so intense I thought his head might explode. Gleeful in his mission to bring high-end audio to the people at less than typical high-end prices, Lichtenegger and Pro-Ject can fairly claim bragging rights for their entry-level Debut Carbon (DC) ($460 and up), one of the world's best-selling turntables.

The first and only time I heard a live performance of Mahler's five-movement Symphony No.7, from Michael Tilson Thomas and the San Francisco Symphony, I left Davies Symphony Hall confused. The bad press that the 70+ minute work has received for over a century, mainly for its innate ambiguity, convinced me that it was, at best, a problematic work—one that Mahler might have eventually revised had he lived long enough. But after listening to DSD128 files of Iván Fischer and the Budapest Festival Orchestra's new recording of the symphony for Channel Classics, released March 29 in SACD format, I've come to consider it a somewhat shy flower that puts on a brave face and remains in the shadows until a strong conductor coaxes it into the light and convinces it to share all of its bloom and fragrance.

At the Montreal Audio Fest, Graham Audio's North American distributor, On A Higher Note, brought along the British speaker manufacturer's latest variation on the BBC-monitor theme: the LS5/9f ($US7995/pair in oak, as shown), described as a floorstanding version of the BBC-designed LS5/9 stand-mounter. According to On A Higher Note's Philip O'Hanlon, seen above, the LS5/9f was created by Derek Hughes, the son of the founders of Spendor (themselves once a BBC licensee—this is slightly complicated). Hughes reportedly intended the extra cabinetry to support the speaker without adding to its internal volume or otherwise altering the essential LS5/9 sound.

Magico's three-way A3 speakers ($CD13,000) were the first things I spotted when I entered Sonor-Filtronique's third room. I fondly remembered them from last year—in my 2018 report, I gushed over the sound of the A3s, then driven by Ayre electronics. Magico's most affordable model, the A3 has an enclosure made of 6061 T6 aircraft-grade aluminum, while their drivers boast diaphragms made of beryllium and graphene.

The world's a place of horrors
Because each man thinks he's right—Loudon Wainwright III

As a teen, I loved spending time in musical-instrument shops. Now, with exceptions, the experience is reliably depressing.

Last Saturday was exemplary: I walked into my local supermarket of sound to buy a set of guitar strings, and was at once assaulted by the racket of two gunslingers trying to outshoot each other. Combatant No.1, a fiftysomething male with an elaborate dye job, had hold of a new Martin dreadnought acoustic guitar, on which he aggressively demonstrated his repertoire of Stephen Stills licks.