LATEST ADDITIONS

In less than 11 years, guitarist Emily Remler went from rising star to shooting star, from her first major exposure—an invitation from Herb Ellis to perform as part of "Guitar Explosion" at the Concord Jazz Festival on July 21, 1978—to her final concert on May 3, 1990, at the Hotel Richmond in Adelaide, Australia, where she was found dead from a heart attack the next day. She was 32 years old.

The recent Resonance Records triple-LP/double-CD set Cookin' at the Queens: Live in Las Vegas (1984 & 1988) is a welcome reminder of her prowess and a sad marker of what she might have accomplished if she hadn't died so young.

What if there was a character in Stanley Kubrick's classic movie 2001: A Space Odyssey who was an audiophile? Aboard the Discovery One interplanetary space ship, what would his system look like? He'd probably have a pair of ultramodern speakers that could pluck sound out of the ether. He'd control the system with something like a present-day smartphone or tablet, commanding the HAL 9000 computer to play his favorite songs. The speakers would stand unobtrusively in a white room with 1970s modern-minimalist furniture, no rack of components to drive them, no wires connecting them, no shelves of physical media to play. And they would fill the room with music.

I am sitting earthbound in my living room almost a quarter-century beyond the year 2001, living a similar scenario with the Focal Diva Utopia streaming amplified wireless speaker system. My living room is not at all reminiscent of the Discovery One with its rotating central interior (footnote 1). But with the Diva Utopia system, I feel more in a sci-fi future young me might have imagined than with any hi-fi component I've reviewed so far. About the only thing the Diva Utopia has in common with the stereo systems I grew up with—and with my current reference system—is two floorstanding cabinets and diaphragms that move air to make sound.

Audiophiles are often misunderstood as mere hobbyists; in fact they hold a profound reverence for sound. Japanese jazz kissas, where vintage vinyl, turntables, tube amplifiers, and horn speakers have drawn audiences since the 1950s, exemplify this passion. Western audiophiles share a similar fervor, though our pursuit of sonic perfection often manifests in a more discreet, almost monastic, lifestyle.

Shinobu Karaki, a 65-year-old electronics designer, is the founder and chief designer of Japan's Aurorasound. A music lover first, an audiophile second, and an aspiring jazz and classical guitarist, Karaki crafts phono stages, step-up transformers, preamplifiers, power amplifiers, and integrated amplifiers for his Yokohama-based audio company.

Lone Mountain Audio’s Brad Lund, Aleks Bars, and old Hall Audio pal Leland Leard brought a minimal but effective rig to Tampa.

Johnnie Bergmann (Bergmann Audio) and Vassil (Taiko Audio) guided me through the elaborate configuration of this expensive system—thankfully, as my brain was already fried by midday Friday.

I am a lucky person. I've been writing monthly audio columns since 1992, and the chief benefit of that privilege has been that each month my mind is free to visit distant shores searching for exotic artifacts that readers might never encounter at their local audio emporium. This month, my raft drifted again onto Japan's metaphorical shores.

I was cordially greeted by an international cohort: Victor Kung (VK Music in Canada), Yoshi Segoshi (the American distributor for 47 Labs), Junji Kimura (47 Labs' founder and chief engineer), and Kazutoshi Tsukahara, formerly associated with 47 Labs (in Japan) and now founder and chief engineer of Sparkler Audio, which is also based in Japan. Sparkler Audio makes modestly priced components including the model S515t "ballade II" CD transport, which I am about to describe.

Lucca Chesky and Cambridge Audio’s Steve Novakoski presented the Chesky Audio LC1 Bookshelf Monitor ($498 each), which made a big splash at Capital Audiofest.