LATEST ADDITIONS

Hitting newsstands, tables, and mailboxes next week, the February 2017 issue features the 27th edition of our perennially popular "Records 2 Die 4," where the magazine's writers and editors each list two recordings that they will take with them when they go. And we haven't forgotten the hardware: John Atkinson waxes lyrical over the Magico S5 Mk.II speaker; Ken Micallef does likewise over the unique NEAT Iota Alpha; Mikey Fremer drives his Wilsons with humongous Boulder monoblocks; Art Dudley and Herb Reichert listen to idiosyncratic digital components from EAR and Schiit; and Herb Reichert auditions Rega's new Planar 3 LP player.

This week's Industry Profile features Jim Hagerman of Hagerman Audio Labs. In essence, Jim is Hagerman Audio Labs all-in-one, as he impressively functions as owner/designer/engineer/tester/builder/shipper/customer service, and so on. Hagerman Audio Labs first caught my eye a couple years back when I started getting into DIY projects. Though he has since eliminated DIY from his offerings (you can read why below), Jim continued to interest me because: 1) his website lists an address in Honolulu (a rarity in high-end audio), 2) he publishes his schematics, and 3) his candid approach to social media is refreshing—all hopeful indicators that he'd make a very interesting Industry Profile subject.

Stereophile tried something a little different for our CES coverage last year: we brought Graham Nash to the show. This year several new artist names were tossed about, and when Jake Shimabukuro came up we jumped at the chance to bring him to Las Vegas. Jake is a stellar musician, and has turned the ukulele into a respected instrument with his interpretations of classical and modern works, collaborating with a wide range of artists from Yo-Yo Ma to Alan Parsons. He is stunning to watch: If you've never seen or heard him play, check out the videos at the bottom of this story.

The Danish Bang & Olufsen firm is the undisputed leader in audio when it comes to dramatic product styling and ease and versatility of use. Their designs have won more design awards than those of any other audio firm, and each new lineup of B&O models seems to offer even more control convenience than the last batch. Sonically, none of their components to date has been any better than "very good," and some have done significantly less well than that. In reviewing them, we have had to compare them with their pricewise competition among the brands we normally think of as "high-end," and B&O's components have not stood that comparison very well.

When I requested the Snell Music and Cinema Reference System for review, plus the new Snell Type A Music Reference System for evaluation, little did I know what I was letting myself in for. I lost count of the number of large shipping cartons delivered to my garage—though I'm sure the delivery man didn't. Except for the subwoofers, all the individual pieces are relatively small. But together they form a system that definitely demands both attention and a large room to sound its best and to keep it from visually overpowering the space.

Bang & Olufsen's revolutionary BeoLab 90 loudspeaker, which I examine in greater depth elsewhere in this issue, has had some profound effects on me, not least of which is that the review pair prevented me from listening in multichannel for nearly two months. Additionally, I and a few friends found that the two BeoLab 90s delivered an absolutely stunning and convincing soundstage. So when the time came to relinquish them, I was anxious. Would my reference 5.1-channel surround system now disappoint when I played two-channel recordings? Would I still find multichannel to be a substantial advance over stereo, or no improvement at all? Would I need to come out of retirement and find a new day job so that I could afford the BeoLabs' price of $84,990/pair?

When I applied for this fabulist audio-preacher gig, John Atkinson protested, "But Herb, aren't you a triode-horn guy?"

"No, that was decades ago! Today I'm still a bit of a Brit-fi guy, but my mind remains wide open."

However: As a professional reviewer, I am biased toward affordable, lovingly engineered audio creations made by family businesses with traditional artisanal values. I enjoy solid-state as much as tubes—often more!