Budget Component Reviews

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Art Dudley  |  Nov 13, 2009  |  0 comments
Every now and then an affordable product comes along that's so good, even wealthy shoppers want it. Past examples in domestic audio include the Rega RB300 tonearm, the original Quicksilver Mono amplifier, the Grace F9E phono cartridge—even Sony's unwitting CD player, the original PlayStation. Based on word of mouth alone, one might add the HRT Music Streamer+ to that lauded list.
Sam Tellig  |  Nov 06, 2009  |  First Published: May 06, 2009  |  2 comments
"The victor belongs to the spoils."—F. Scott Fitzgerald, The Beautiful and the Damned, 1922
Corey Greenberg  |  Nov 02, 2009  |  First Published: Oct 02, 1993  |  1 comments
Okay, here you are: You're a Real World music lover trying to sling together a Real World hi-fi rig. You gotcha budget-king NAD/Rotel/JVC/Pioneer CD player, your SOTA Comet/Sumiko Blue Point analog rig, and your cool-man NHT/PSB/Definitive Technology entry-level speakers. Hell, you've even gone out and bought a few pairs of Kimber PBJ interconnects to hook it all up. This ain't no dog and pony show—you want that High-End High, not just some cheap'n'cheerful, low-rez rig to stick in the rumpus room so the kids can listen to that weak-ass, faux-grunge, watered-down Hendrix-howl that modern-day wimp-boys like Pearl Jam dish out to anyone under 30 who doesn't know any better.
Robert J. Reina  |  Oct 26, 2009  |  0 comments
In my reviewing career, except for fleeting listening sessions at the occasional audio show, I've had little contact with products from the Italian loudspeaker maker Chario. When asked if I'd be interested in reviewing an affordable bookshelf speaker from them, I did some research and discovered that Chario is distributed in the US by Koetsu USA. Well, with that kind of pedigree—I'm a loyal owner of two Koetsu Urushi cartridges—I thought I'd better give the Premium 1000 ($1015/pair) a careful listen. A few months later, I was tucking in to a pair of review samples.
Jim Austin  |  Sep 21, 2009  |  0 comments
Designed to be used onstage by musicians monitoring their sound and mix, in-ear monitors (IEMs) such as the new Westone 3 are great in situations where you want to hear nothing but the music. They're small and portable, and their high efficiency and easy impedance load mean they work well with portable players. IEMs are better than electronic-feedback, noise-reducing, closed circumaural phones at blocking out airplane engine noise and annoying neighbors who want to chat. They're also more compact, sound better, and don't require batteries.
John Atkinson  |  Sep 21, 2009  |  0 comments
I got early into personal stereos. I lost my driving license for a while in the mid-1970s—something about a stop sign and "failure to observe"—so I used to take the train to a regular bass-playing gig I had in Brighton, on England's south coast. Not only did I conclude that any audio magazine worth its cover price had to have enough meat in it to last the two-hour journey and back again, I also built myself an op-amp–based, battery-powered amplifier to drive a pair of RadioShack headphones. Desperate times called for desperate measures, and my only source was a mono cassette recorder. Inside-the-head mono is as mono desperately does, so once I got my license back, it was back to the car and stereo FM radio. It wasn't until a) I moved to New York City to become a strap-hanging commuter and b) bought a 2003-vintage 30GB iPod (which I still use) that music on the move again began to play a major role in my listening.
John Atkinson  |  Sep 21, 2009  |  0 comments
Phiaton is the brand name used by the South Korean Cresyn Company. Wes Phillips reviewed Phiaton's conventional closed-back Moderna MS 400 headphones in January 2009 and was as impressed by the sound quality as he was by their appearance. The PS 200 ($249), the only in-ear headphone sold by Phiaton, also has a striking appearance: the black rear face, which is all someone sitting next to you in the subway will see, resembles the turbine blades of a fan-jet engine. There are two balanced-armature drive-units, with a passive crossover network.
Thomas J. Norton, Sam Tellig  |  Aug 31, 2009  |  First Published: Apr 01, 1991  |  0 comments
"Hello, it is I, C. Victor Campos."
Sam Tellig, Corey Greenberg  |  Aug 31, 2009  |  First Published: Dec 31, 1987  |  2 comments
Sometimes products are too cheap for their own good, and people don't take them seriously: the Superphon Revelation Basic Dual Mono preamp, Rega RB300 arm, AR ES-1 turntable, Shure V15-V MR cartridge, and the B&K ST-140 power amp. They can't be any good because they cost so little, right?
Art Dudley  |  Aug 24, 2009  |  0 comments
I used to be with it, but then they changed what it was. Now what I'm with isn't it, and what's it seems scary and weird. It'll happen to you.—Abraham Simpson
John Marks  |  Aug 24, 2009  |  0 comments
When I was a kid, I saw the Marlon Brando remake of Mutiny on the Bounty. I'm sure you know the story—lots of bad-guy/good-guy tension between Captain Bligh and Fletcher Christian. There's also an overlay of class conflict, but with a twist: The up-and-comer is the sadist, while it's the aristocrat who is nature's nobleman.
Art Dudley  |  Aug 16, 2009  |  1 comments
This whole thing started up again when I tried to improve the phono-input section of my main system—not to enhance its performance (although you might expect that to happen), but to provide a fairer, more flexible context for evaluating new cartridges.
Art Dudley  |  Jul 13, 2009  |  5 comments
In the early to mid-1980s, I read every high-end hi-fi magazine I could get my hands on. Among the consequences was my discovery that the Grado Signature Seven phono cartridge—which was better and cheaper than the Signatures One through Six—was the cartridge that God wanted me to have. So I cut back on all manner of luxuries, saved every dollar I could save, and a few months later brought a walletful of cash to Harvey Sound in midtown Manhattan, where an unpleasant man with a bad comb-over handed me a little pill bottle of a plastic tube.
Sam Tellig, John Atkinson  |  Jul 06, 2009  |  First Published: Jan 06, 1990  |  0 comments
And now for something completely different.
Sam Tellig  |  May 29, 2009  |  First Published: Mar 01, 2009  |  0 comments
In 1989, Cambridge Audio, then run by Stan Curtis—who is still active in hi-fi— introduced their DAC 1. At about the same time, within a few weeks of each other, Arcam introduced their Delta Black Box and Musical Fidelity their Digilog. I forget who was first among the three. Arcam, I think. But the DAC race was on, led by the British. (There was even a DAC called the Dacula.) US companies got into the DAC race, too—at higher prices, of course.

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