Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the <A HREF="http://www.stereophile.com/floorloudspeakers/139">Sonus Faber Amati Homage</A> loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (<A HREF="http://www.stereophile.com/standloudspeakers/487">reviewed by Martin Colloms</A> in July 1994), while the third was the Stradivari Homage (<A HREF="http://www.stereophile.com/floorloudspeakers/105sonus">reviewed by MF</A> in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.

Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the <A HREF="http://www.stereophile.com/floorloudspeakers/139">Sonus Faber Amati Homage</A> loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (<A HREF="http://www.stereophile.com/standloudspeakers/487">reviewed by Martin Colloms</A> in July 1994), while the third was the Stradivari Homage (<A HREF="http://www.stereophile.com/floorloudspeakers/105sonus">reviewed by MF</A> in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.

Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the <A HREF="http://www.stereophile.com/floorloudspeakers/139">Sonus Faber Amati Homage</A> loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (<A HREF="http://www.stereophile.com/standloudspeakers/487">reviewed by Martin Colloms</A> in July 1994), while the third was the Stradivari Homage (<A HREF="http://www.stereophile.com/floorloudspeakers/105sonus">reviewed by MF</A> in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.

Back in the day, one of the first reviews to be posted in our free online archives at www.stereophile.com was Michael Fremer's June 1999 report on the <A HREF="http://www.stereophile.com/floorloudspeakers/139">Sonus Faber Amati Homage</A> loudspeaker. The Amati was the second in the Italian manufacturer's top range, the Homage line, which is dedicated to the master makers of stringed instruments of 17th-century Cremona. The first was the Guarneri Homage (<A HREF="http://www.stereophile.com/standloudspeakers/487">reviewed by Martin Colloms</A> in July 1994), while the third was the Stradivari Homage (<A HREF="http://www.stereophile.com/floorloudspeakers/105sonus">reviewed by MF</A> in January 2005). Mikey was so impressed by the Amati that he purchased the review samples and used them as his reference for almost three years.

Perhaps there is no subject more vigorously debated among audiophiles than the primacy of the loudspeaker. Many 'philes believe there is no more important element in a hi-fi system&mdash;after all, they reason, it doesn't matter how good the components ahead of the speakers are; if the transducers can't reproduce the signal, you can't hear it. On the other hand, the source adherents maintain, speakers can't reproduce information that hasn't been retrieved from the recording. Loudspeakers can limit the amount of information you hear, but they can't increase it. This is one of those irresolvable paradoxes similar to the question of which came first, the roast chicken or the omelet.

Perhaps there is no subject more vigorously debated among audiophiles than the primacy of the loudspeaker. Many 'philes believe there is no more important element in a hi-fi system&mdash;after all, they reason, it doesn't matter how good the components ahead of the speakers are; if the transducers can't reproduce the signal, you can't hear it. On the other hand, the source adherents maintain, speakers can't reproduce information that hasn't been retrieved from the recording. Loudspeakers can limit the amount of information you hear, but they can't increase it. This is one of those irresolvable paradoxes similar to the question of which came first, the roast chicken or the omelet.

Perhaps there is no subject more vigorously debated among audiophiles than the primacy of the loudspeaker. Many 'philes believe there is no more important element in a hi-fi system&mdash;after all, they reason, it doesn't matter how good the components ahead of the speakers are; if the transducers can't reproduce the signal, you can't hear it. On the other hand, the source adherents maintain, speakers can't reproduce information that hasn't been retrieved from the recording. Loudspeakers can limit the amount of information you hear, but they can't increase it. This is one of those irresolvable paradoxes similar to the question of which came first, the roast chicken or the omelet.

Perhaps there is no subject more vigorously debated among audiophiles than the primacy of the loudspeaker. Many 'philes believe there is no more important element in a hi-fi system&mdash;after all, they reason, it doesn't matter how good the components ahead of the speakers are; if the transducers can't reproduce the signal, you can't hear it. On the other hand, the source adherents maintain, speakers can't reproduce information that hasn't been retrieved from the recording. Loudspeakers can limit the amount of information you hear, but they can't increase it. This is one of those irresolvable paradoxes similar to the question of which came first, the roast chicken or the omelet.

Tom Swift is a talented young loudspeaker designer. Tom believes that he has never been able to prove exactly how talented he is, because the company he works for refuses to build the cost-no-object loudspeaker he's been doodling designs for (on company time).