The concept of streaming digital music files over distances great (as with internet-streaming services like Spotify, Qobuz, Tidal, etc.) and small (from a home-PC hard drive, NAS, or networked music server) became mainstream only recently. But it was already brewing during the late 20th century, with people illegally downloading low-bitrate MP3 files made from CD rips and coming close to killing the recorded-music industry.
That wasn't streaming exactly, or not in the current sense, because the files needed to be downloaded, stored locally, then either played out of a computer or loaded onto a portable player, but from that point forward it was a steady march to the streaming-dominated present.
Never mind Napsterthe first subscription audio "streaming" service was one you probably wouldn't think of: Audible, the audio book service now owned by Amazon, which started up in 1995. I did beta testing and editing work for early-days Audible, and around that time, I started loading up home-ripped MP3 files on a pocket-sized Rio MP3 player (which by then had replaced Audible's proprietary player), using it in place of a portable CD player. This led to experiments with a PC music library/player running Linux, controlled by a Handspring PalmOS device connected to the stereo system via a Sound Blaster 16 card.
I'm going to tell a story about blind listening, because it illustrates what I consider the most important issue in today's audiophile environment. I'm going to skip the names of the participants because you probably know them. And I'm not going to name the components, because their role in this story is merely as symbols of their type. Here is what I'll reveal: We were playing LPs through an expertly curated, six-figurepriced sound system in a largish room that suited the large speakers perfectly.
The occasion was a "listening party" at a friend's apartment. The guest list included me and four of the most experienced listeners I know. The plan was for everyone to nosh lightly, drink good wine, and weigh in on a new, unnamed, not-free low-output MC phono cartridge, only available on a limited, made-to-order basis.
Do good things come in small packages, or is bigger better? Your call. But regarding the products they've sent my way for review this month, designers Franc Kuzma, Kiyoaki Imai, and Velissarios Georgiadis are all in the latter camp. Kuzma's Stabi M, designed to accommodate the 14" version of his 4Point tonearm, is a massive turntable with a big footprint. Imai's Audio Tekne TEA-8695 tubed phono preamplifier has 11 Permalloy core transformers and weighs nearly 100lb. And although it uses just four signal-path tubes and a pair of rectifier tubes, Georgiadis's Xactive Argo phono preamplifier fills the full width, height, and depth of a Harmonic Resolution System shelfand not because it's a big but mostly empty housing.
In 1928, Swiss engineer and inventor Jean-Léon Reutter created a clock that could run for years without human interaction or any type of external power source. The Atmos Clock required no AC power, batteries, solar panels, or hand-winding. It was able to wind itself by leveraging subtle changes in atmospheric pressure and temperature.
The design was so energy efficient that a single degree of temperature change provided enough power for two days of operation; it would take an incredible 60 million Atmos clocks to equal the power demands of a single 15W light bulb. 95 years later, the Atmos Clock is still being manufactured in Switzerland by Jaeger-LeCoultre, but like most high-precision, Swiss-made instruments, it isn't cheap. Prices start around $7500.
As I began writing this column, the terrible news arrived that Armando "AJ" Conti, founder of Basis Audio, had died of a heart attack at 59. A talented designer of turntables and tonearms, AJ was one of the warmest and more thoughtful people in the High End. Whenever I entered the Basis room at a Consumer Electronics Show, I had to be prepared to spend the next hour or more talking with AJnot only about audio, but about coffee, motorcycling, metallurgy, or any other of his many passions . . .
At the beginning of this century, when the vinyl resurgence was at best nascent and few believed it would be as strong as it is today, Boulder Amplifiers manufactured a phono preamplifier that cost $29,000. I reviewed that model, the 2008 (now discontinued), in the July 2002 issue. With a power supply that would probably be more than adequate for a high-wattage power amp, it was built to a standard approached by few other makers of phono preamps...
With his lines of power amplifiers and preamplifiers well established, Dan D'Agostinothe founder, CEO, and chief designer of the company that bears his nameset about designing a phono preamplifier.
As an upstart journalist-flâneur, my basic urge is to step on the gas and let my '54 Buick careen down the freeway, crashing into guardrails on both sides. Old Buicks were built for that, and I would love to take readers on one of those kinds of rides.
But when I write this monthly column, I find myself aiming for a different feel, more like driving cross-country in a '70s Ford station wagon, documenting motels and gas stations. A trip where it's fun to roll easy, take in the views, and stop at every car museum, snake farm, and stalactite cave.
This month, I'm going to put some miles on the Ford's odometer as I investigate the effects of Ron Sutherland's newest current-drive creation: a $3800 transimpedance moving coil headamp called the SUTZ. Along the way, I will also re-review Dynavector's $1250 DV-20X2 moving coil cartridge and examine what might be the sweetest spot in Dynavector's cartridge lineup: the $2150 XX-2 MKII.
Although Swiss-based CH Precision is a relatively young company, its core design team has been involved in high-performance audio for many years. Their website doesn't state the company's age, but something there did provide a hint: Among the design team's previous activities was work for another Swiss company, Anagram Technologies...I hadn't made the connection between Anagram and CH Precision when Raphael Pasche, the latter's electronics design engineer, visited last fall to install CH Precision's P1 dual-mono phono stage and the optional X1, a discretely regulated, outboard linear power supply that's claimed to exhibit ultralow levels of noise. The P1 can be ordered as a stereo preamp for $31,000; add $17,000 for the identically sized X1 power supply. Or one mono P1 can be used for each channel, for $55,000 plus $34,000 for two X1s. Expensive stuff.
The other day it occurred to me that the main difference between audiophiles and more reasonable adults isn't our gear. Plenty of people have impressive hi-fis simply because they can afford them and are running out of things to buy. No, what makes someone an audiophile is the willingness to sit down in front of a pair of speakers (or with a pair of headphones clamped over their ears) and focus the entirety of their attention on listening.
CH Precision's P1 phono preamplifier, which I wrote about in the April 2017 issue, is not going back to its manufacturer. The longer I used it, the more obvious it became that I couldn't part with it, even though I said I couldn't afford it. The cost was stiff even at the accommodation price (at retail, the CH Precision P1 and its optional X1 power supply are $31,000 and $17,000, respectively, footnote 1), but I decided I could afford it, and bought it for myself as a 70th-birthday present. No, I can't hear as well as I did 30 years ago, but my listening is better than ever.
Maybe you've seen the widely circulated New Yorker cartoon: Two guys stand in front of a nicely drawn, tubed audio system, under which are shelves full of LPs. One guy says, "The two things that really drew me to vinyl were the expense and the inconvenience."
The first audiophile I met lived near a sewage treatment plant on the outskirts of Moscow. It was a few months after the Soviet Union collapsed, in 1992, when I was a college senior, and I recall walking with my father to his home past block after block of the identical dingy white tenements that encircle most Eastern European cities.
If your ears see,
And your eyes hear,
Not a doubt you'll cherishHow naturally the rain drips
From the eyes!Bujutsu Sosho
The more audio gear I review, the more fascinated I become by the fact that as I listen to recorded music, I can close my eyes and see musicians on the stage at Carnegie Hall, or djembe drummers in a desert by a tent, or a bass note penetrating the Milky Way. What a gift of consciousness. And what a great hobby it is that focuses my attentions in this manner.
Whenever I do turntable-setup seminars, I complain to the participants about the lack of cartridge-pin diameter and clip-opening standards. Anyone who does their own setup has experienced it: The connection is too tight or too loose. Forcing the clip onto the pin usually results in a broken-off clip that most end users don't have the soldering skills needed to repair; in the worst case, it can even result in damage to the cartridge when you try to remove the clip from the pin.
Sometime around 483 BCE, in Kushinagar, the capital of the Malla Republic in what today is the Indian state of Uttar Pradesh, an aristocrat named Siddhārtha Gautamaknown better to us as the Buddha, or the Awakened Onepassed away. For 45 years, he had wandered the North Indian River Plain teaching a method of overcoming ignorance, craving, and the cycle of death and rebirth to a growing community of followers.