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.

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."

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.

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."