LATEST ADDITIONS

Jason Victor Serinus  |  Jun 06, 2024
Six years after Hans-Ole Vitus, the founder of Danish company Vitus Audio, visited the United States to premier his first three products at CES 2004, Michael Fremer went gaga over the company's top-line MP-P201 Masterpiece Series phono preamplifier. Thirteen years later, at AXPONA 2023, it was my turn to be blown away, this time by the sound of a $385,000 Vitus Audio top-of-the-line Masterpiece series front-end and amplifiers that sang through price-commensurate Estelon Extreme Mk II loudspeakers.

In between—and not for want of trying—Vitus's presence in these pages has been limited to show reports. It's time to change that.

Michael Trei  |  Jun 05, 2024
I sometimes joke about how audio designers create products that resemble themselves, not just in how they look, but also in the design approach used, and especially the way they sound. So, we have tall, cool, pragmatic Scandinavians making gear like the lean, elegant Børresen loudspeakers, while the Italians build luscious curvy equipment endowed with natural wood and leather, like Sonus Faber speakers and Unison Research amplifiers. Continuing this blatant stereotyping, we have Acoustic Signature founder Gunther Frohnhöfer, a stout German known for creating precision-built turntables that are as solid-looking as he is.

When I visited the Acoustic Signature factory in 2023, I watched as they hewed massive slabs of aluminum into beautiful, heavyweight turntables. This approach is the opposite of the lightweight-but-rigid philosophy embraced by Rega, and while the resulting performance has different strengths, I would argue that it is at least equally valid. As with Rega, Acoustic Signature products have a purposeful simplicity, in a way that would allow a nonaudiophile to instantly recognize what their function is.

Robert Baird  |  Jun 04, 2024
For all its insidious ferocity, the COVID ordeal also spawned a new musical genre: pandemic records. Stuck indoors like everyone else, some musicians found ways to express their creativity at home, often exploring new repertoire. While some of the resulting albums were myopic and indulgent, others—McCartney III for example—confirmed that artists who need to create will find ways. Trapped indoors, New York singer/actor Hilary Gardner found her musical muse wandering toward an unexpected place. "The songs I was initially drawn to—because I'm in this one-bedroom apartment in downtown Brooklyn—were about life on the trail, out in the natural world, generally being alone," she told me in a recent Zoom call, recalling the claustrophobia of that time. "They were songs that either embraced that feeling or were kind of rolling around in the melancholy of solitude. I wanted that thematic thread of being on the trail to connect all the tunes."
John Atkinson  |  Jun 01, 2024
Jon Iverson (right) shares a Big Sur sunset with John Atkinson in 2017. (Photo by Corrina Jones.)

After 27 years, yesterday was the final day AVTech's webmaster Jon Iverson was responsible for overseeing the company's websites, including this one. Now in his mid-60s, Jon felt it was time for him to retire while he still had the energy to explore his other interests.

Rogier van Bakel  |  May 31, 2024
There was a period in the 1970s when many pop ballads that should have had understated arrangements instead turned grandiose and even maudlin. Take Gilbert O'Sullivan's sensational single "Nothing Rhymed" (a track that went deep for a pop hit, referencing famine, duty, and morality). Soon after the start, O'Sullivan's piano is overshadowed by a loud, saccharine string section.

Another example is "Lotte," German singer Stephan Sulke's portrayal of a dying love affair. The devastatingly wistful chanson is burdened by a mawkish orchestral track—the equivalent of glitterbombing an Edward Hopper painting.

Contrast this with Roberta Flack's definitive version of Ewan MacColl's "The First Time Ever I Saw Your Face." Apart from Flack's voice and her emotional delivery, the gently strummed guitar and quiet piano do all the heavy lifting. An unhurried double bass and a couple of minimally bowed string instruments leave swaths of negative space, helping to give her interpretation its hushed, reverent character.

I reflected on all this after spending several months with Balanced Audio Technology's REX 500 solid state power amplifier ($25,000), which has more in common with the Roberta Flack track than with the bombast of "Nothing Rhymed."

Ken Micallef  |  May 30, 2024
Evaluating a loudspeaker that would become Stereophile's 2011 Product of the Year, Art Dudley, at the time the magazine's editor-at-large, wrote, "The Voxativ Ampeggio went beyond sounding good: More than once, with too many records to mention, I found myself stopping to marvel at its brilliantly good pitch certainty. In terms of being able to simply nail a note, whether in isolation or tucked within a whole string of the little bastards, I've heard few other speakers this accomplished. And while it's one thing to focus on such a characteristic for a moment at a time, it's quite another to bask in it subconsciously—and the Voxativs allowed me to do just that."

"I've now encountered a single-driver dynamic speaker I could live with," Art concluded. "In most audio reviews that's faint praise, but in this one it's a revelation."

Jason Victor Serinus  |  May 30, 2024  |  First Published: May 28, 2024
Steinway Lyngdorf, the only speaker company that’s allowed to use the Steinway name, compared the sound of its two “new” speakers. The Model S Soundbar is designed for rooms that cannot contain floorstanders. Sold as a complete, full-range on-wall system and usually chosen for custom installs, the Model S contains three AMT tweeters, three midrange drivers, and two woofers. Total amplification power is 1600W, and the specified frequency response is 40Hz–20kHZ –3dB. With machined, solid-aluminum front and back panels, it has MDF frame that contains five acoustically separate chambers. Available in matte black, high gloss black with gold details, or custom finishes, it weighs a substantial 106lb.
Jason Victor Serinus  |  May 30, 2024  |  First Published: May 28, 2024
As it has done in previous years, Dynaudio opted for a huge ground floor foyer area that, in addition to a huge, divided space in which to exhibit new and forthcoming models, offered a large meeting room for distributors and press. Ably assisted by Michael “Mike” Manousselis and John Quick of Dynaudio North America, I spent a dizzying half hour or so receiving an overview of four forthcoming models.
Ken Micallef  |  May 30, 2024  |  First Published: May 29, 2024
High End Munich is a global stage for established audio brands, already heavily covered by the international press. How do smaller manufacturers get noticed in this crowded, high-profile event? I made it a mission to seek out hidden gems and share my discoveries.
Jason Victor Serinus  |  May 29, 2024
In a large Atrium showroom, Sonus Faber introduced their five new Second Generation (G2) Sonetto loudspeakers. Though I didn’t have an opportunity to audition any of the new models which comprise the company’s most affordable and popular series—speakers that are priced far, far lower than Sonus Faber’s Suprema flagship ($750,000/pair—I was privileged to end up face-to-face with Florian Marmisse, the acoustic engineer who designed the line’s drivers and crossovers.

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