Products of the Year

Joint Accessories of 1996

Acoustic Sciences Corporation Tube Traps ($189–$659; reviewed by J. Gordon Holt, Larry Archibald, Robert Harley, & Jack English, Vol.9 No.3, April 1986; Vol.15 No.2, February 1992; Vol.16 No.12, December 1993; & Vol.19 No.1, January 1996 Review)
Townshend Audio Seismic Sink ($150–$725; reviewed by Shannon Dickson & Michael Fremer, Vol.18 No.11, November 1995; Vol.19 No.1, January 1996)
VPI HW16.5 & HW-17 record-cleaning machines ($450 & $900, respectively; reviewed by Anthony H. Cordesman, Corey Greenberg, & Michael Fremer, Vol.8 No.1, January 1985; Vol.17 No.5, May 1994; & Vol.19 Nos.6 & 9, June & September 1996)

Finalists (in alphabetical order):
Black Diamond Racing The Shelf (from $450; reviewed by Wes Phillips, Vol.19 No.2, February 1996 Review)
Illuminati DataFlex Studio S/PDIF digital datalink ($325/1m; reviewed by Jonathan Scull, Vol.19 No.5, May 1996)
Illuminati Orchid AES/EBU digital datalink ($750/1.5m; reviewed by Jonathan Scull, Vol.19 No.5, May 1996)
Marantz RC2000 system remote control ($250; reviewed by Larry E. Ullman, Stereophile Guide to Home Theater, Vol.2 No.4, Winter 1996)
MIT Z-System power-conditioning system (from $1495; reviewed by Dick Olsher & Robert Harley, Vol.17 No.12, December 1994; Vol.19 No.1, January 1996)
Shakti "Stone" Electromagnetic Stabilizer ($230; reviewed by Jonathan Scull & Barry Willis, Vol.19 Nos.2 & 4, February & April 1996)

Nothing better points out the diversity of Stereophile's reviewing staff than an attempt to get a consensus on essential accessories. This year's three-way tie illustrates that perfectly: a software washing-machine; an acoustic room treatment; and a platform designed to isolate components from vibrations in the environment.

Long after the so-called "death of vinyl," its adherents are clamoring for ways to eke out additional fidelity from their chosen format. Eventually, most record listeners get around to cleaning their discs and are amazed at the difference it makes even to already great-sounding LPs. Both of VPI's record-cleaning machines have proven to be reliable and effective over the long haul. The 17 is the industrial version, boasting a reservoir for cleaning fluid—which can be dispensed at the touch of a button—as well as a dual-direction platter. The half-the-price 16.5 gets records just as clean, but asks consumers to manually apply fluids and scrub discs. Either way, a clean record is the clean windshield of audio—not only does everything become clearer and more focused, but the system seems to run better.

ASC's Tube Traps are also veterans— Stereophile's first review of them ran more than a decade ago. They have proven to be powerful tools, capable of tuning even the most unpromising rooms. The Large Corner Traps soak up excess bass standing-wave resonances like Roach Motels for soundwaves—they go in but they never come out. Studio Traps fine-tune upper-bass absorption, whereas the Tower Traps are most effective at taming early sidewall reflections. The Studio Traps, which are height-adjustable and easily rotated, can either absorb excess upper-bass bloom or scatter HF sidewall reflections—making them a mighty useful tool to have around a listening room. One must be careful, though—people seem all too prone to overuse the various Traps, and that can suck the life out of a room's response. But use them with restraint and they can be a powerful ally in the search for audio nirvana.

The Townshend Seismic Sinks are variously sized inflatable platforms designed to isolate audio gear from stand-borne vibrations. They have proven effective under turntables—even 'tables with well-designed suspensions—but, much more surprising, under digital gear and amplification as well. (MF didn't like them under tubed gear, however.) SD found that stacking them offered even greater benefits—albeit at an obvious cost. What's fascinating is that none of the respondents felt the Sinks had a deleterious impact—an astonishing unanimity that speaks highly for the product.