LATEST ADDITIONS

Dr. Feickert Analogue's top-of-the line turntable, the Firebird ($12,500), is a generously sized record player designed to easily accommodate two 12" tonearms. Its three brushless, three-phase DC motors, arranged around the platter in an equilateral triangle, are connected to a proprietary controller in a phase-locked loop (PLL); according to the Firebird's designer, Dr. Christian Feickert, a reference signal from just one of the motors drives all three—thus one motor is the master while the other two are slaves. (Man, today that is politically incorrect, however descriptively accurate.) Feickert says that the key to this drive system is the motor design, which was done in close consultation with its manufacturer, Pabst. The result is a feedback-based system in which the controller produces the very low jitter levels claimed by Feickert.

The April Issue features an extensively revised "Recommended Components" feature—often copied, never equaled—while April Music's stylin' Aura Note V2 CD receiver gets the full review treatment from Art Dudley. In addition, we have:
• Great analog playback gear from Abis, Jasmine, Mørch, Reed, SME, and TechDAS
• A US-premier review of the AR-M2 hi-rez portable player from one of the great names in hi-fi, Acoustic Research, now under new ownership
• A high-end server from Aurender is put through its paces
• An interview with that most blues-ish singer/guitarist, Bonnie Raitt
• And kicking off this bumper 188-page issue, a report that "The Kids Are Alright!"

In an announcement made yesterday on their corporate website, UK-based Chester Group—which, in recent years, has sponsored consumer-audio shows in Vancouver, Brooklyn, and Brighton, UK, among other locales—revealed that they are "deferring" this year's Salon Son et Image, which had been scheduled to take place March 18 through 20 at the Bonaventure Hotel in Montreal.

Product debuts galore were only one of the reasons that March 3's Music Matters 11, the latest installment of Definitive Audio Seattle's annual four-hour evening marathon, was a model event of its kind. Another, articulated by Definitive's president Craig Abplanalp to exhibitors less than an hour before the doors opened at 5pm, was that, at this Definitive Audio 40th Anniversary celebration, music rather than long-winded product spiels was the focus of each 20-minute listening session.

Certainly audiophiles heard the call. Music Matters 11 drew over 500 people...

With the atomization of the playback of digital files into storage, servers, streamers, format converters, and DACs, I find that I've accumulated many miniature power supplies: small pods and wall warts. Most of these are generic switching devices made by companies other than the manufacturers of the components they power, and even those not designed for audio systems are, of necessity, at least adequate for the task. Because many of these supplies are indistinguishable from each other, I've taken to labeling them with sticky notes to remind me which goes with which component. Nonetheless, I'm concerned that they're no more than the commodity power modules available for a few bucks each on eBay. Whenever I think of the four or five of them clustered behind my equipment rack, I begin to suspect them of plotting revolt against the fancy gear they serve.

No one likes to be fooled, least of all those of us whose job it is to sort the real from the imagined: a tightrope walk, the audience for which reliably contains one or two rustics who delight in the occasional splat.

Such were my concerns in the days following last November's New York Audio Show, where I first encountered High Fidelity Cables—an exhibitor that generated considerable (figurative) buzz by promoting the use of magnets in an audio system's interconnects, speaker cables, and power cords. Indeed, by the end of the first day, more than one showgoer had asked me, "What did you think of the guy with the magnetic cables?"