Recommended Components

Recommended Components Fall 2023 Edition Subwoofers

Subwoofers & Crossovers:

A:

JL Audio CR-1: $3500
The CR-1 crossover has continuously variable high- and low-pass filters built around two banks of precision Linkwitz-Riley filters that can be set for 12 or 24dB/octave via. Front panel switch. Upon encountering the CR-1, LG "wondered where it had been all [his] life;" he's been using it ever since. "It's beautifully made, sonically transparent, performs a critical role in the optimal setup of subwoofrs, and has ergonomic bypass and mute functions that let you immediately hear the sonic iprovements of good bass management." (Vol.39 No.11 WWW)

JL Audio Fathom f110v2-GLOSS: $4000
This relatively small—16" × 13" × 17"—impeccably finished, powered, sealed-box subwoofer uses a 10" cone woofer and a 1.1kW class-D amplifier. The low-pass filter's turnover frequency can be set between 30Hz and 130Hz with 12dB or 24dB/octave slopes. There is no high-pass filter, but the latest, multiband version of JL's Digital Automatic Room Optimization (D.A.R.O.) processor is included (a microphone is supplied), which KR found impressively useful. Driving multiple JL subs from the LFE output of his multichannel server, KR perceived more solidity and definition in the pedal tones with an organ recording and an expanded dynamic scale. For listening in stereo, where an LFE output was not available, KR used JL Audio's CR-1 Active Subwoofer Crossover and decided that its bass management was subjectively more satisfying than simply having a subwoofer playing the LFE channel on multichannel music recordings. "The JL f110v2 is a mighty mite of a sub, conceding little to its larger brothers," he concluded. (Vol.43 No.8 WWW)

MartinLogan BalancedForce 212: $4,499.99/each
The two 12" aluminum-cone woofers of the 212 are mounted on opposite sides of their enclosure and operated in opposition to one another—an approach for which MartinLogan has coined the term BalancedForce. Power comes courtesy an internal pair of 850W class-D MOSFET amplifiers, themselves addressed with a choice of balanced and unbalanced connectors for left-channel, right-channel, and LFE (low-frequency effects) operation. Controls include continuously variable knobs for level, low-pass filter (30—80Hz), and phase (0—270°), plus an On/Off switch with a third choice for power-saving Auto mode, which detects an incoming signal and powers up the system accordingly. JI used two 140lb BalancedForce 212s with his own MartinLogan Prodigy loudspeakers, and was impressed with the results—especially with the newly remastered Led Zep catalog: "Kick drum and bass were tuneful and heavy...yet there was no sense of bloat or bass 'effect,' and the tonal balance from top to bottom just felt right and real." The only performance negative: the audible clacking of the system in Auto mode. Perfect Bass Kit costs $100. (Vol.37 No.10 WWW)

SVS SB-3000: $1099.99 in Black Ash finish; $1199.99 in Piano Gloss Black finish
The new SB-3000 is 37lb lighter, a few cubic inches smaller, and $600 cheaper than the model it replaces in the SVS line—the SB13-Ultra—and while its built-in class-D amp is also slightly less powerful (800W vs 1000W), the new model is specified to reach even lower, extending to 18Hz instead of "just" 20Hz. The SB-3000's newly designed 13" driver sports an aluminum cone and boasts a new 2" split voice-coil. Wireless (Bluetooth) control of the subwoofer is made possible via SVS's smartphone app, which LG describes as "user-friendly"; wireless connection to one's music system requires the addition of the SVS SoundPath Wireless Audio Adapter Kit ($119.99). LG noted that the SB-3000 was "quicker to set up" than another recent sub and praised its bass performance for being "massive, powerful, and weighty" while preserving subtle details. His conclusion: "an outstanding choice for small to moderate-sized rooms." (Vol.42 No.9)

SVS SB16-Ultra: $2299.99
Just as a big dog needs a big leash, a big woofer cone needs a big voice-coil, if only to prevent the cone from flexing and the coil from shifting in its gap. So in designing their SB16-Ultra powered subwoofer, SVS equipped its 16" driver with an 8" edge-wound voice-coil—a coil so wide that it runs outside the driver's four big toroidal magnets. Indeed, SVS says that the SB16-Ultra's voice-coil is, to date, the largest used in a commercial subwoofer. (The driver as a whole weighs 63.9lb, almost precisely the average birth weight of a Holstein calf.) Joining all that bigness is a 1500W class-D amplifier, a computerized bass-management system that, like the SB16-Ultra's basic controls, is operated from a Bluetooth-friendly smartphone app, and an "uncluttered" rear panel that, according to reviewer LG, includes both unbalanced (RCA) and balanced (XLR) inputs and outputs. LG was also impressed by the 122lb SB16-Ultra's relative ease of installation, praising in particular its "smart" packaging, its four-page quick-start manual—and Merlin, SVS's online setup guide, which offers loudspeaker-specific recommendations for filter settings and the like. LG wrote that, after optimizing its setup, "it was clear that a single SB16-Ultra could produce more than enough bass extension and slam in my large listening room." (Vol.40 No.12 WWW)

B:

JL Audio E-Sub e110: $2100 in Gloss, $1900 in Ash
One step down from JL Audio's Fathom series is the Florida company's E-Sub line, the entry-level model of which is the e110 in black ash finish. (Add $200 for gloss black.) The self-powered (specced at 1200W RMS) e110 sports a 10" driver and pairs of RCA inputs and outputs. With the sub's crossover engaged, the output jacks provide a 24dB/octave, Linkwitz-Riley—filtered high-pass signal; when the crossover is defeated, they provide a buffered version of the same signal that appears on the e110's input jacks. Controls include level, filter defeat, filter frequency, polarity, and variable phase; the e110's specified frequency response is 25116Hz, ±1.5dB (3dB at 23Hz). KR, who relied on Audyssey and Dirac Live software for EQ chores, found that, in his room, "useful response was maintained to below 15Hz. Pretty impressive for a pair of 10" drivers!" And although, as KR observed, "two 10" subs couldn't 'load' the room" as his larger subs did, the E-Subs offered "deep, powerful bass." (Vol.39 No.9 WWW)

KEF KC62: $1499.99
This minuscule—10" × 10" × 10"—powered subwoofer weighs 30.9lb and uses KEF's unique force-canceling, bipolar Uni-Core drive-unit, which has two opposed 6.5" diaphragms with concentrically sleeved voice-coils sharing a common magnetic pole-piece. The aluminum enclosure acts as the heatsink for the internal amplification and the KC62 includes line-level (RCA) and speaker-level inputs (Phoenix connector) and a variable (40Hz–120Hz) high-pass–filtered line-level (RCA) output. There are five DSP room-placement profiles: Room (for positioning away from walls); Wall (for next to a wall but not in a corner); Corner; Cabinet (near a corner, inside a cabinet); and Apartment (which reduces the level of the KC62's lowest frequencies). With Falcon's "Gold Badge" LS3/5as, HR noted that after some experimentation with settings and placement, as well as extending the minimonitors' low frequencies, the KC62 improved the speakers' midrange presence and spaciousness in ways that made it easier for him to look into the sound-space and stay focused on performances. "Instruments and voices sounded bigger, more physical, and easier to 'see' with the KC62 engaged." He also achieved excellent results with Magnepan .7s and KEF LS50s and concluded that the KC62 "took an already great speaker and made it greater. Isn't that what a subwoofer is supposed to do?" Class rating reflects limited output power. (Vol.44 No.6 WWW)

MartinLogan Dynamo 800X: $899.99/each for sub $$$;
In 2018, MartinLogan introduced optional wireless connections for their subwoofers: a move that eliminated the need for typically long, costly interconnect runs. Soon thereafter, Larry Greenhill borrowed the next-to-smallest model in the company's new subwoofer line, the Dynamo 800X ($799.95 without wireless connectivity, $999.90 with). Boasting a 10" polypropylene woofer and a built-in, 300W, class-D amplifier, the roughly cubical (13.7") Dynamo 800X weighs 30lb, and its removable feet can be arranged to accommodate front- or downfiring installations. Comparing wired vs wireless connection, LG could hear "no differences in levels of background noise or bass power, or in pace, rhythm, pitch definition, solidity, or tightness"—nor did he experience any dropouts. In LG's experience, the Dynamo 800X is outperformed by other subs in terms of bass extension, bass dynamics, and even pitch definition, but those alternatives are all considerably larger/heavier and more expensive, leaving the Dynamo 800X a comparably high-value recommendation. (Vol.42 No.2 WWW)

SVS 3000 Micro: $899.99
At 10.9" × 11.7" × 10.7" and weighing in at 26.7lb the 3000 Micro is similar in size and weight to the KEF KC62. It features two opposing 8" aluminum-cone drivers equipped with dual-ferrite magnets and powered by a 800W Sledge STA-800D2 class-D power amplifier. A Bluetooth smartphone app (Apple iOS and Android) and a control panel on the subwoofer's side plate both allow volume, low-pass frequency (30–200Hz), phase (in single-degree increments), polarity, room-gain compensation, and crossover slope (6, 12, 18, or 24dB/octave) to be adjusted. There is also a DSP-powered parametric equalizer, which allows users to create and save as many as three custom EQ settings. With the Falcon Gold Badge speakers, HR set the 3000 Micro's low-pass filter to 68Hz and the level to –29dB, at which point "bass-register piano notes snapped into full-textured focus...[M]y system's octave-to-octave tonal balance seemed ideal. Bass and lower midrange exhibited a satisfyingly pure harmonic structure. Plus, all the bass sounds appeared to be coming from the LS3/5a's, not the sub." HR found that in his relatively small room, "the SVS's dual 8" cones projected their energy with more ease and flow than the 6.5" KEF KC62 cones had." However, he felt that more expensive KEF KC62s had better pitch definition, pace, and timing than the 3000 Micro. "The KEF's tone seemed slightly more correct, and it danced with slightly greater precision," he wrote, adding "but it was close." HR also had successes integrating the SVS subwoofer with Harbeth M30.2s and Magnepan .7s, concluding that "everything about my first SVS subwoofer experience pointed to a manufacturer that specializes in 'well and thoroughly conceived' subwoofer experiences." (Vol.44 No.8 WWW)

COMMENTS
creativepart's picture
Submitted by creativepart on September 15, 2023 - 10:12am

Does Stereophile ever question the validity of this twice a year list? Perhaps it really helps with newsstand sales, but I've come to dread it's release twice a year. First, there are the stupidly priced A+ turntables all reviewed by one staffer that's been gone for quite some time. The entire A+ section will go away with "not tested in a long time" and rightly so.

Some items are ranked by full reviews with testing and others are just columnists saying - highly recommended - at the end of their monthly column. And those items are many times totally out of the mainstream of the product marketplace.

And, while price doesn't indicate quality, it is so jarring to see $500 products achieve the exact same ranking (A or B usually) along side $15,000 products.

I'd love to see you folks test more of the items people are buying in fairly large numbers everyday... even though they don't have the same 5 popular distribution partners or those that advertise in the magazine. No, I'm not saying it's pay to play. But MoFi Distributing buys a lot of ads, it's friends with staffers and routinely gets their products reviewed. It's not payola, but it is a symbiotic relationship.

I'd recommend you scrap the listing and retool the whole thing - and put some thought into how and why you test the products you test.

tenorman's picture
Submitted by tenorman on September 16, 2023 - 10:54am

Very objective , well written and fair . You’ve made some great suggestions . Thank you

HeadScratcher's picture
Submitted by HeadScratcher on September 16, 2023 - 6:30pm

I too recommend scrapping the current format for a complete retooling of a listing that isn't so time lapse convoluted...

Glotz's picture
Submitted by Glotz on September 15, 2023 - 8:33pm

Creativepart is mincing words to that they fail to commit to... They are saying it's pay to play in no uncertain terms and views their listings with mistrust. To imply MoFi has a friendly relationship is complete conjecture and Stereophile does not make nor position themselves as a symbiotic relationship with any manufacturer or distributor. If they get their product reviewed, it's because a reviewer saw or heard their product at a show, and anything else is implied BS. Rather, they hate MoFi for their lack of transparency about their debacle on digital masters, and want to see any association of Stereophile's behalf as condemnation of their own lack of transparency and veracity. That implication stinks like jaded political pundits grasping for correlated facts.

What CP is also implying directly is that he or she would like validation of their mainstream products purchased to be favorably reviewed (so they can feel good about their purchases of gear). It's generally opposed to what Stereophile does and any long term reader or subscriber would know that as gospel and the very reason the magazine exists on one level- to provide a review of one person's experience with a hard to find or less-investigated piece of gear. It is easy to find, learn and buy any mainstream piece of gear. I do think that should change a bit.

What is important is for Stereophile to review these mainstream audio products and compare against their audiophile offerings and EXPLAIN why they are different and (if) superior. That would be bring in more readers if the descriptions of well known products (vs. audiophile products) could be compared and contrasted well enough. This acts to bring real-world reference points to levels of sound quality that more non-audio dudes would understand.

I do not think this magazine is as good at comparisons (though understandable) as they used to be in the 80's and 90's (less HR and JA). Manufacturers don't like comparisons to their products because often the context is misunderstood by readers. Yes, almost all products in any category are vastly improved and the 80's performance points were much more obvious to hear and report about as negative or positive. Technology marching forward has changed that and leveled the playing field drastically. The fundamental design approaches of audiophile companies still focus on sound rather than ergonomics or functionality.

What should happen is to NOT name the product under comparison in the review but only use price as an indicator of quality vs. price in any comparison. That way readers can understand the product from a price perspective and not feel they have a field day crapping on the product that they 'KNEW was audiophile garbage'.

Side note- Other than subscribers, no reader should be allowed to make comments on this or the other sister websites. By way of omission of the subscribed investment, we will be able to separate the dross from water. I'm pretty sure there are a lot of other websites that do this outright, but I get that Stereophile wants to increase it's readership. Perhaps, this is actually a better way to do it. Require subscriptions for posting comments here and there (AP).

Jazzlistener's picture
Submitted by Jazzlistener on September 15, 2023 - 7:19pm

high when you wrote this? Talk about verbal diarrhea. Creativepart made some good points. Although I do personally enjoy the Recommended Components feature, I too find it questionable (e.g. the Rega P3 makes it into Class C but none of their higher end tables can crack Class A? Pluh-ease. What I would really love to see is more system recommendations in Stereophile like in some of the British Hi-Fi mags, and at different price points.

Glotz's picture
Submitted by Glotz on September 15, 2023 - 8:42pm

But I was pissed a bit. Implied collusion ruffles my s***.

Great recommend on the system point you bring up. That should be a regular feature if they can create very different systems for each 'type' of listener. From there they could build on hybrids of system types involving tubes and solid-state, etc.

These rankings are just one reviewer judging a component in relation to their system. The Benchmark reviews come to mind- Certain people loved them, others not. There's massive nuance there and goes to the heart of preference thing- accuracy to source vs. myfi, vs. 'the absolute sound'.

They all need to fit somewhere into the classes here. It may be a hodge-podge like it is, but whatever. It just is.

The Belles vs. McCormack amp comparison from Sam Tellig (2000) comes to mind as well. The pursuit of accuracy vs. warmth and obscuration of detail lent the McCormack the nod and the higher rating for ST in Class A and the Belles to Class B. Same realm of performance and price (in my listening as well) but they don't share a rating. In more ways and in my lighter balanced system (at the time), I preferred the Belles.

I think dollar amounts do have play a part here as sometimes there are positives that 'overweigh' the subtractions to placement a certain class and could serve one particular group of listeners as a justification for a higher cost or greater perceived value.

Expensive modern tube power amps are a great examples. To get to a greater level of measurement and subjective performance to that of solid state one has to spend sometimes thousands more. The classes do need adjustments for a positive listening value like 'superb depth', even though there may be subtractions for other weaknesses.

I look at the classes as just a rough guide. I doubt that the Project DAC reviewed as Class A a few years back could compete with the top dollar DAC's like dCS, but I haven't heard the Project. I would think there is enough areas of merit to make Class A, but probably not as many facets of performance as the dCS or other pricey DACs.

Anton's picture
Submitted by Anton on September 15, 2023 - 12:41pm

One of those turntable must surely be A++, no?

And some of that 'A' gear must really be 'A-.'

I think we should switch to the Moody's rating system...

Or, perhaps the Robert Parker 100 point scale.

Glotz's picture
Submitted by Glotz on September 15, 2023 - 8:44pm

lol.

RobertSlavin's picture
Submitted by RobertSlavin on September 15, 2023 - 2:00pm

First let me say I heard the Raidho D2-1 speakers several years ago and was very impressed.

However, given how uneven the measured frequency response of the Raidho TD3.8 was in the Stereophile measurements, I question whether it should have even qualified for Class E if it were sold for $700. Instead, we find it recommended at Class A+ for $117,000.

It is generally acknowledged that there is a strong correlation between even measured frequency response and generally perceived speaker quality.

I realize that to get in A+ just one reviewer has to think that way. But it does raise my eyebrow.

Robert

Scintilla's picture
Submitted by Scintilla on September 15, 2023 - 10:08pm

Despite my recent foaming-of-the-mouth and throwings-under-the-bus here, I do think there is value in the list each year. I have used Stereophile reviews and the list to both narrow my choices and to purchase goods based on a long-standing relationship with a reviewers words. Fremer might think me a random hater but I used his reviews to pick both a phono preamp, and a tonearm. I trusted my own ears to pick other parts of my system before glowing reviews appeared here. Assembling a modern, high-quality audio system is made much more difficult by the sheer number of products available, companies and general noise on the Internets. In the 80's we could go to a hifi salon and listen to products like the Robertson 4010 with some Soundlab A1's (made my neck hair stand up) and find Celestions with omni subs paired with Bedini or BEL amps. In this age, having a curated list to help people at least find products to seek is more valuable than ever. What it comes down to is whether you trust the ears that made the choices. And I do not trust all the new reviewers and neither should you. They haven't earned it yet.

Glotz's picture
Submitted by Glotz on September 16, 2023 - 8:06pm

Haven't you given a reason why you can't trust them?

Specifically why.

Scintilla's picture
Submitted by Scintilla on September 16, 2023 - 9:53pm

Because they can't actually hear differences. I only trust Kal, JA1 and nobody else; maybe Herb; maybe but he's one of those I just write for pleasure guys. So why trust them? Because the rest of the new writers, including JA2 have not proved themselves over time. It's one thing to have a good review when many people agree. Why is JVS reveiwing the highest-end equipment like J10 did? WTAF does he really know about that gear other than his association with the magazine? Not much, actually. He's an amateur listener no more skilled than me. At least Fremer proved himself as a real arbiter of sound quality. I may not agree with his choices for equipment, but the man proved his prowess as a listener. Not so with the rest of these newbies. They can be indignant all they want to be but until they have a record of salient, quality reviews, they are nobodies... And this is Stereophile's big fail.

Glotz's picture
Submitted by Glotz on September 17, 2023 - 2:07pm

I wasn't trolling you- You didn't give reasons until now.

I thought these reviewers had enough experience at shows, with their own multi-thousand dollar systems and constantly refining their own craft by interviewing and working with manufacturers.

It would seem strange that a manufacturer or distributor installed-system would be anything less than successful playback, as they don't leave until they are satisfied. They certainly have the respect of manufacturers, dealers and distributors when I see them talk together at shows. (And if collusion ruled those relationships, we would see a different dynamic here.)

MF's system is real close in many ways to JVS' so what is the culprit?

Is it your perception of measurements don't match JVS' experiences? Or is that HR has a more observable scientific method by way of comparisons of gear that seems more transparent? Or the way either communicates their observations?

It just may be about the type of subjective tests that reviewers are performing that fails to bring one type of measurement to be audible. Classical music omits a ton of performance areas for review parameters. The component review may be really for classical lovers. I certainly don't read anymore into it if he isn't remarking on other music.

Yet I do see JA defending JVS' experiences in his measurements section in last month's Infigo review. No one seems to ever acknowledge or comment on those reasonable defenses- ever.

Thank you for your explanation no matter what.

ChrisS's picture
Submitted by ChrisS on September 16, 2023 - 8:59am

...from mine?

No problem!

creativepart's picture
Submitted by creativepart on September 16, 2023 - 11:48am

I went to pains to explain I wasn't claiming payola. And, I'm still not. I'm saying that products with distributors are granted more reviews due to attendance at shows, relationships with editors, and just increased personal contact. Companies expect their distributors to represent their brand for them and to advertise their brand for them. And, that's what they do.

Reviewed products end up on the Stereophile Recommended Products list because of this greater exposure to Stereophile writers and editors.

When someone from a small equipment company calls an editor their call will not be answered as readily as a call from that nice rep you met at the Munich show and shared a beer with last year. It's how the business works.

And, everyone should know when a product is getting a review in a future issue the Ad Dept is made aware and sales people call to suggest an ad be placed in that same issue. It's not pay to play because the ad sale has nothing to do with the product review being printed. But companies recognize synergy when they see it.

Add to this that most reviewers seem to be in Urban areas that have the traditional HiFi Shop. Where the rest of the country only has internet forums and online reviews to audition various products.

My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.

Jazzlistener's picture
Submitted by Jazzlistener on September 16, 2023 - 4:36pm

“My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.”

I do not begrudge any company that does a good job marketing itself, attending shows, building a presence in the industry, etc. That’s a lot of hard work and investment. There is a boutique speaker company in my home town that makes outstanding speakers, but the owner has steadfastly refused to show them off at shows, market them properly, or work with dealers. The result has been failure to grow his company or draw attention to his speakers. That’s on him. Stereophile is only one of myriad sources on the Internet where audio enthusiasts can find reviews on gear. Many other reviewers cover mainstream products. In fact, if you’re interested in a product you’d be hard pressed not to find a reasonably to excellent credible review on it.

ChrisS's picture
Submitted by ChrisS on September 16, 2023 - 10:40pm

...shopping.

Does no one know how to do that anymore?

Yeesh!

Jean-Benoit's picture
Submitted by Jean-Benoit on September 17, 2023 - 5:55pm

It seems like an obvious thing to include, or else the reader is left to "manually" go looking for reviews of every component that piques his/her curiosity. Seems like a wholly unnecessary hassle for what is otherwise a really useful list.

CG's picture
Submitted by CG on September 18, 2023 - 7:31am

Good suggestion!

I tried to search for the review of the Ayre VX-8. No luck, link or no.

John Atkinson's picture
Submitted by John Atkinson on September 18, 2023 - 10:01am
CG wrote:
I tried to search for the review of the Ayre VX-8. No luck, link or no.

This review will be posted to the website on Friday. The other reviews in the new (October) issue will be posted over the next 10 days. (Stereophile gives priority to print subscribers.)

John Atkinson
Technical Editor/part-time web monkey

CG's picture
Submitted by CG on September 19, 2023 - 6:02am

Ahh! Coming attractions, as they say. Fair enough, all around.

ChrisS's picture
Submitted by ChrisS on September 18, 2023 - 11:09am

The review for the EX is online...The new one should come up soon!

ednazarko's picture
Submitted by ednazarko on September 19, 2023 - 7:46am

Always stunned by how many people are compelled to tell the world at length how outraged they are about something online they don't like. Maybe insufficient joy in their lives? A lack of purpose? Afflicted with oppositional defiant disorder? I don't know. But if you think online comparison rankings of audio gear are a fruitless exercise, why read them? If you didn't read them, how can you have much of a useful opinion? Expressing outrage about something you refuse to read is mostly chest pounding and declaring superiority over the fools filling the world.

Don't like the comparison reviews? Really, just move on. Less rage hormones in your blood will extend your life span. Or raise money, buy the company, and show us your better ideas in action.

I enjoy reading through these comparison ratings. Don't agree with some, do agree with others. I've found over time that there are reviewers whose ears and preferences seem to match up with mine and others who don't. (In these twice yearly ratings, and in the ongoing reviews published.) These cyclical ratings and the ongoing reviews have been quite useful for me in trying and buying gear when living in a location that limits my ability to hear a lot of gear for myself.

Right now massively enjoying listening to Kingfish Live in London on my Okto stereo DAC, which I'd never have heard of without the review here, and would have never bought other than the reviewers were ones who's opinions and ears have matched with mine in the past, along with the wildly excellent measured performance. Through an old Anthem integrated that was well reviewed way long ago... and through B&W 702 speakers that got mixed reviews, but in the mix there were specifics that told me that they'd work well with my other components and in the large studio listening space I had. (And that I definitely needed the smattering of sound panels on the walls behind and to the side.)

Just because something pleases you not, or strikes you as ignorant and wasteful consumption of bits on the internet, doesn't mean that others don't find value and useful insights. Save your time and your cortisol and ignore the stuff you think it dumb. Life is short. Spend it well.

Glotz's picture
Submitted by Glotz on September 19, 2023 - 12:19pm

N/T

creativepart's picture
Submitted by creativepart on September 19, 2023 - 3:11pm

No anger, no stress on this end. Simply making suggestions in hopes of improving this twice a year feature (of the printed magazine). If you read anger and vitriol in phrases in my post like "I'd love to see you folks..." then it's not me that's overreacting.

If you like the listings as they are, then great. No one is stopping you. Me, I think they could be more meaningful than they are currently. But that's just me.

pinkfloyd4ever's picture
Submitted by pinkfloyd4ever on September 28, 2023 - 8:24am

It would be really helpful if you posted a link to the full review of each of these products in this list

Jau's picture
Submitted by Jau on October 2, 2023 - 12:07am

Hi,
In delections from their latest Recommended Components they relate to the Devialet Expert 140 Pro and say that it has been replaced by a new model which has not been tested. However, the Expert 140 Pro continues to appear on the Devialet website and there is no new model to replace it. (?)

Firemike's picture
Submitted by Firemike on January 31, 2024 - 3:56pm

Maybe a quick visit to Funk & Wagnall's might be in order to refresh ourselves of what a review and recommendation is. If a consumer wants to spend $10 or $20,000 on a widget, consider a review as gospel, or only an opinion, isn't that their prerogative? If a person prefers the sound of pink colored audio equipment made from crystals and walnuts from "Big HI FI" that has no scientific or measurable reasoning behind it, who are we to judge? Akin to politics and religion, each person votes with their ears and ultimately, wallet. Not every opposing view is a conspiracy which require's a need to question other's intentions. A review is nothing more than one person's opinion. Aren't we in this hobby to listen and enjoy music - not hyper analyze equipment, materials, and the evil empires that provide it? Somehow fellow hobbyist's have survived all of these years in life - many of them very successfully - without our subjective criticism. Yes, I get it. As a subscriber you have input into how you would prefer to see things done. Maybe a letter to the editor could be a consideration.

moukie's picture
Submitted by moukie on February 13, 2024 - 8:16am

Really surprised NOT to see Bryston 4B3 14B3 or 28B3 in the recommended amps and that is like every year

Leah's picture
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