I've been wrestling with my elders about new ways to measure loudspeakers, lobbying for methods that might correlate more directly with a listener's experience. And wouldn't you know? Right in the middle of this Socratic dialogue, I put the fresh-from-UPS, $1000/pair, Tannoy Revolution XT 6s into my reference system, plunking them down on my 24" Sound Anchor Reference stands in the same spot my Harbeth P3ESRs had been sitting. And I freaked! I was using the Rogue RP-7 preamp and the Rogue Stereo 100 (100Wpc) amplifier, and I could never adequately describe how bad the shiny white Tannoys sounded. Imagine sound that's thin, metallic, herky-jerky, dull, and rolled off completely below about 90Hz.
Reviewing a new loudspeaker from Totem feels like destinyas if a formative moment 30 years ago has come full circle. That's because the first genuine audiophile speaker I ever owned was Totem's now-iconic Model 1, a product whose arrival altered many audiophiles' expectations of how much greatand wide-rangesound a small speaker can deliver. It's still being made today, at least in spirit.
Located outside Glasgow, in a geographical area that's also home to Linn Products and Tannoy Ltd.and also near the storied whisky distilleries of Aberfeldy and Blair AthollFyne Audio got off to a fast start. A mere three years after the company's 2017 founding, Fyne already has distribution deals in 50 countries and offers 24 products in seven series.
Unlike the world of recorded music, where streaming has decimated sales of physical products, book publishing is seeing the reverse trend: sales of eBooks are declining while those of both hardback and paperback books are recovering. I have been a book junkie all my lifethe two long walls of my listening room are lined with floor-to-ceiling bookshelves and I have many boxes of books in storagebut these days almost all my book reading is with the Kindle app on my iPad mini.
In the realm of loudspeaker reviews, John Atkinson's measurements and my empirical observations have one important equivalency: Both are meaningless abstractions until confirmed by your listening experience.
Both are contingent on factors that are necessarily obtuse and not especially controllable.
It is said that while any competent engineer can design a superb loudspeaker if allowed an unlimited bill of materials, the true test is being able to produce a great-sounding, budget-priced speaker out of parts that cost a mere handful of dollars. With PSB's Alpha series of bookshelf speakers, Canadian engineer Paul Barton has illustrated this truism many times over the years.
Class-D audio amplifiers: What's the argument for them? Class-A audio amplifiers: What's the argument against them? Class-AB amplifiers: Why does everybody make them? Each of these amplifier output architectures has strengths and weaknesses. Each will interface more or less successfully with a given loudspeaker in a given room. Each has a distinctive sonic signature. Consequently, as knowledgeable audiophiles with a laundry list of system-building goals, we are required to choose the amplifier type that best suits our speakers, our room, and our individual musical-aesthetic predilections.
SVS's recently introduced SB-3000 is a compact powered subwoofer that's $600 cheaper, a few cubic inches smaller, and 37lb lighter than the model it replaces, the SVS SB13-Ultra. Its amplifier is less powerful (800W vs 1000W), but its rated frequency response extends lower: a stygian 18Hz, compared to the SB13-Ultra's merely stentorian 20Hz.
A visitor to stereophile.com named billmilosz commented: "Compared to these, everything else sounded like it was coming out of a cereal box." When I read that, I laughed out loud.
That reader was responding to my AXPONA report about Magnepan's new $650/pair Little Ribbon Speaker (LRS)which I presume he also heard at the show.
Has Serinus been demoted? You might well ask. This month, instead of reviewing a $58,000 stereo amplifier, I'm tackling a $599 powered loudspeaker system.
Truth be told, I'm always on the lookout for products that deliver outstanding sound at bargain prices. And since I maintain in my living room a modestly priced system built around powered speakersthis in addition to the far costlier system in my dedicated listening roomit's an easy fit for me to evaluate low-priced products in a real-world context.
I have reviewed several network-connected music servers in recent years, from Antipodes, Aurender, and NAD. All performed well but are relatively expensive, and their associated player apps didn't equal Roon's user friendliness in terms of interface, organization of the library, and inclusion and updating of metadata. So when Roon Labs introduced their own server, the Nucleus+, I first reviewed and then purchased it, along with a lifetime subscription to Roon. But at $2498 without an internal drive for storing music files, the Nucleus+ is still relatively expensive, and even Roon's less-powerful Nucleus costs $1398. I was still on the lookout for a server that would be more accessible to our budget-minded readers.
Visit any consumer audio show these days and you'll see rooms full of systems costing from six to seven figures. Manufacturers like to put their best foot forward, and demoing systems with loudspeakers designed to sell for $50,000/pair and up (often up) seems an obvious way to go.
It's also common for an audio company to launch its flagship models first, and only later release more affordable products, for a wider range of buyers. The hope is that the promotional shine of the dream products will be reflected onto the budget models.
I keep getting older. By the time you read this, I will be genuinely old. When I was genuinely young, I bellyached, "Wires are the worst part of hi-fithere's gotta be a way to get rid of them." I first made that statement when audio electronics and loudspeakers both still nestled inconspicuously in proper bookcases. Back then, people sitting on the sofa weren't forced to stare at diverse audio boxes and ungainly wires.
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.
If you've ever dipped your toe into some form of high-performance motor sport, you know: The best race-car engines spin torque and exhale horsepowerwith intoxicating ease. They're engineered to be responsive. Depress the clutch, toe the throttle, and watch the tachometer instantly pin itself. Engage the clutchyour chest contracts and your head gets light. Then later . . .
Back in your Ford Fiesta, its revving engine sounds distant, muffled. Your body can't feel the powerplant's power. In gear, the Ford feels soft and hesitant, not responsive.