Audacious Audio

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Audacious AudioDigital Processor Reviews
Meridian Audio Ultra DAC D/A processor
John Atkinson  |  Apr 18, 2017  | 
As I mentioned in my review eight years ago of Meridian Audio's 808.2 Signature Reference CD player, I have long been impressed by the British company's components—in fact, ever since the early 1980s, when I purchased a Meridian 101 preamplifier, followed by my very positive experiences with Meridian's MCD Pro and 208 CD players, 518 digital audio processor, D600 and DSP8000 digital active loudspeakers, and, most recently, the Prime and Explorer D/A headphone amplifiers.
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Audacious AudioSolid State Power Amp Reviews
Boulder Amplifiers 2150 monoblock power amplifier
Michael Fremer  |  Jan 24, 2017  | 
"I'm a recording engineer, so I value accuracy," said a panelist in a discussion—titled "How to Read Between the Lines of Audio Advertising"—at last October's Rocky Mountain Audio Fest. I, too, was on the panel, which was moderated by Brent Butterworth, a writer for the SoundStage! Network of online audio magazines.

"Accuracy is overrated," I interjected from the other end of the dais. "Accurate to what? To your sonic tastes? To what you hear on your preferred loudspeakers? Other than one's personal preferences, I'm not sure the term accuracy has much meaning."

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Audacious AudioFloor Loudspeaker Reviews
Magico S5 Mk.II loudspeaker
John Atkinson  |  Jan 18, 2017  | 
"Dammit!" No sooner had I praised small loudspeakers while dismissing large speakers as potentially having "large problems," in my review of the Crystal Arabesque Minissimo Diamond in the October issue, than I had to eat my words. Only days after that issue had gone to press, Magico's VP for Global Sales & Marketing, Peter Mackay, and CTO Yair Tammam, arrived at my place to set up a pair of the Bay Area company's floorstanding—and very large—S5 Mk.II loudspeakers.
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Audacious AudioPhono Cartridge Reviews
Lyra Atlas SL and Etna SL phono cartridges
Michael Fremer  |  Jan 02, 2017  |  First Published: Jul 01, 2016  | 
My 0.56mV-output Lyra Atlas moving-coil cartridge ($11,995) has put in four years of heavy-duty use. But not long ago I began to hear some problems with sibilants from records that previously hadn't given me trouble in that department. Lyra's Jonathan Carr and Stig Bjorge suggested I bring my Atlas to the 2016 Consumer Electronics Show, held last January in Las Vegas, where they would exchange it for a new one.
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Audacious AudioFloor Loudspeaker Reviews
Bang & Olufsen BeoLab 90 loudspeaker
Kalman Rubinson  |  Dec 20, 2016  | 
Bang & Olufsen's BeoLab 90 is not a loudspeaker to take on lightly. Though its size—49.33" high by 28.9" wide by 29.4" deep—and weight (302 lbs each) meant a major disruption of my listening room, which is also our living room, my wife assented. Its price of $84,990/pair puts it far beyond anything I might consider buying—and the complexity of the BeoLab 90, which has its own dedicated amplifiers and DACs, makes it impossible for a reviewer—or consumer—to directly compare it with any other loudspeaker. So be it.
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Audacious AudioCD Player/Transport ReviewsDigital Processor Reviews
dCS Rossini Player & Rossini Clock
John Atkinson  |  Nov 18, 2016  | 
It has been 20 years since I first became aware of the British company Data Conversion Systems, which manufactures audio products under the dCS brand. Rather than use off-the-shelf conversion chips, the groundbreaking dCS Elgar D/A converter, which I reviewed in our July 1997 issue, featured a then-unique D/A design that they called a Ring DAC. This featured a five-bit, unitary-weighted, discrete DAC running at 64 times the incoming data's sample rate—2.822MHz for 44.1kHz-based data, 3.07MHz for 48kHz-sampled data and its multiples—with upsampling and digital filtering and processing implemented in Field Programmable Gate Arrays (FPGAs). Oversampling to a very high sample rate allows the word length to be reduced without losing resolution, and use of a low-bit multi-bit DAC makes for very high accuracy in the analog voltage levels that describe the signal. (If this seems like voodoo, for a given signal bandwidth, bit depth and sample rate are related. To oversimplify, double the rate, and you can reduce the bit depth by one bit while preserving the overall resolution.)
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Audacious AudioHeadphone Reviews
Shure KSE1500 electrostatic in-ear headphone system
John Atkinson  |  Nov 01, 2016  | 
I wrote several issues back that my first high-end headphones were Koss Pro4AAs, which I bought in 1972 following a positive review in the British magazine Hi-Fi News. Although that review didn't mention that the Pro4AAs were relatively fragile (footnote 1), I nonetheless loved their sound. They were the best headphones I'd heard—until, a couple years later, I was playing bass on some sessions for record producer Tony Cox. Tony had a pair of signal-energized electrostatic headphones, Koss ESP-6es, which were heavy and clunky—but they opened my ears to the sound quality that could be obtained from "cans." I didn't hear better until after I'd moved to Santa Fe, in 1986, and J. Gordon Holt loaned me his review samples of the Stax SR-Lambda Pros.
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Audacious AudioStand Loudspeaker Reviews
Crystal Cable Arabesque Minissimo Diamond loudspeaker
John Atkinson  |  Sep 29, 2016  | 
I have been an advocate of small speakers since I began using BBC LS3/5a's in the late 1970s, continuing through Celestion SL6es in 1981, Celestion SL600s and SL700s in the late '80s, and B&W Silver Signatures in the mid-'90s. Yes, I do like accurate and extended bass reproduction—but you need a big speaker to be able to provide that, and, as the late Spencer Hughes, founder of Spendor, once remarked, "big speakers have big problems." I don't see the point of extending a speaker's low-frequency performance if the result is compromised soundstaging and midrange reproduction. And there is also the intellectual elegance of a speaker that is no bigger than it need be.
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Audacious AudioHeadphone ReviewsJ. Gordon Holt
Koss ESP-9 electrostatic Headphones
J. Gordon Holt  |  Sep 06, 2016  |  First Published: Apr 01, 1973  | 
666kossesp9.1.jpgThe top-of-the-line model from America's leading headphone manufacturer, these are bulky, heavy, very business-like in appearance, and very, very good.

The ESP-9 is dual-powered: from the AC line, or from the input signal itself, The power supply is rather large and heavy, and appropriate in appearance to the phones. Amplifier connections are via wires with spade lugs attached, and speaker connections are made to the rear of the power supply. A front-panel switch selects speaker or headphone operation, and terminates the amplifier outputs with 10 ohms in the Phones position.

Construction is typically top-of-the-line Koss: Rugged, nicely finished, and apparently very durable, and the phones are easy to handle. (Many headphones are so loosely pivoted on their headbands that they swing into impossible positions whenever you pick them up.)

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Audacious AudioDigital Processor Reviews
Moon by Simaudio Evolution 780D D/A processor
Michael Fremer  |  Jul 21, 2016  | 
Simaudio saw disc-based digital audio in its rear-view mirror at least as far back as 2011, when it introduced the Moon Evolution 650D and 750D—two iterations of what it called a "digital-to-analog converter CD transport." These were actually multiple-input CD players, but Simaudio was evidently so eager to distance itself from the spinning disc that it went with a product category that, in spite of its cumbersome, run-on name, drew a clean line between the disc-reading and signal-processing functions—while bestowing upon the former second-class citizenship.
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Audacious AudioCable Reviews
Nordost Valhalla 2 Reference cables
Brian Damkroger  |  Jun 23, 2016  | 
It would be an understatement to say that in 2001, when Nordost introduced their original Valhalla cables, they were a revelation for me. Their focus and resolution of detail were like nothing I'd ever heard, and revealed in recorded performances a startling energy and realism. Throw in their seemingly absolute transparency, and similarly unique levels of spatial and temporal precision, and the Valhallas established a new standard of sound quality in audio cables. Although their tonal balance was cool, as I reported in my first review of them in the November 2001 issue, they were the only game in town in terms of reproducing the feel of a live performance. I immediately adopted them as a reference cable, and they remain a reference for me today.
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Audacious AudioHeadphone Reviews
Audeze LCD-4 headphones
John Atkinson  |  Jun 21, 2016  | 
Life is too short to put up with poor-sounding headphones, I mused the other morning, during my 60-minute commute on the NYC subway. All around me, straphangers gripped smartphones and listened to multicolored Beats, noise-canceling Boses, white Apple earbuds, and, only rarely, Sennheisers and Grados.
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Audacious AudioFloor Loudspeaker Reviews
Bowers & Wilkins 802 D3 Diamond loudspeaker
Kalman Rubinson  |  May 26, 2016  | 
"This is getting to be a habit."

That's how I ended the first paragraph of my review of Bowers & Wilkins' 800 Diamond speaker, in the May 2011 issue; apparently, Stereophile's habit of reviewing models from B&W's 800 series remains unbroken.

Later in that review, I said that "The 800 Diamond doesn't look radically different from its predecessors." That doesn't apply to the 802 D3 Diamond ($22,000/pair). It's still a three-way system with tapered-tube high-frequency and midrange enclosures, stacked and nestled into a generous bass enclosure that's vented on the bottom into the space between it and its plinth.

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Audacious AudioFloor Loudspeaker Reviews
Marten Coltrane 3 loudspeaker
Michael Fremer  |  May 25, 2016  | 
Marten is a small Swedish loudspeaker manufacturer with great aspirations, some of which the company has largely met. Leif Mårten Olofsson founded Marten and designs the speakers, while brother Jörgen Olofsson runs the business as CEO—a division of creative and administrative labors similar to the working relationship between David and Norman Chesky, the founders of Chesky Records and HDtracks.
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Audacious AudioPhono Preamp Reviews
Luxman EQ-500 phono preamplifier
Art Dudley  |  Apr 27, 2016  | 
I still remember how difficult it was for me to transition from mass-market to high-end audio. The former, for all its flaws, gave me things to do: switches to flip, buttons to push, knobs to turn, meters to watch. I was in control—and if my attention happened to stray from the music or the liner notes, I still had something to keep me busy. By contrast, the first perfectionist-quality amplifier I bought—an Amber Series 70—was an oblong box with an on/off switch. Where's the fun in that?
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