Philip O'Hanlon is one smart cookie. Rather than stage the customary new product demo, where attendees must sit through one or more lengthy spiels before they get a chance to hear a single note, he went right for the gold. As someone who loves music, thrives on music, and takes joy in creating demo CDs for friends, the renowned proprietor of On a Higher Note—distributor of Luxman, Vivid, Brinkmann, Mola Mola, and TriPlanar—delighted a full house at the first public demo of Luxman's forthcoming DSD-capable DA-06 DAC ($6000),…
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Music Lovers' Hugh Fountain shows off the Vivid Giya G3 speakers
On her debut album Ripely Pine, Lady Lamb the Beekeeper delivers a wandering collection of fantastical folk-pop songs with whimsical lyrics about love enveloped by orchestral arrangements rewarding the listener with an assortment of tones and a praise-worthy use of space.
For four years, Aly Spaltro crafted her music within the confines of Bart & Greg’s DVD Explosion video rental store in Brunswick, Maine. Nightly after her three to eleven p.m. shift, Spaltro withdrew her instruments hidden behind the Drama and Horror wall and composed. The doldrums of her daily routine served as her…
Robert J. Reina reviewed the Reference 5 SE in February 2013 (Vol.36 No.2):
After I read Brian Damkroger's thorough review of Audio Research's Reference 5 SE line-stage preamplifier ($12,995) in the November 2012 issue, I thought it would be fun to give it a listen and put in my 2 cents—as I had in 2006 in my Follow-Up to Paul Bolin's review of the Reference 5 SE's predecessor, the Reference 3.
Every instrument and voice on every recording I listened to through the ARC emerged from silent blackness onto a wide, deep soundstage with a sense of effortlessness, no matter how…
Do you believe in beginner's luck? If so, some of your personality traits should be quite predictable. Let's see. You're very likely an optimist with a "bull-market" mentality, play the lottery, and, most important, bought a CD player within a year of its introduction, or a solid-state amp in the '60s. You're apt to mail in a profusion of bingo cards (you know, the kind Stereo Review is full of) and spend hours perusing specifications in the hope of finding a kernel of truth in all of that chaff. You'd particularly be appalled at that fellow I ran into the other day, who had bought an AR-1…
I believe that it is de rigeur to evaluate amps with a variety of speaker loads in order to flush out their performance capabilities in as many contexts as possible. To that end I also included the following loudspeakers in my listening tests: the Koval-modded old Quad ESLs, the Celestion SL600s, the Acoustat Spectra 22s, and the MartinLogan Sequel IIs. Some of these loads are not only pretty insensitive but also quite reactive. In all cases, however, the RM-9 proved to be a competent and uncomplaining partner—never at a loss dynamically, and clipping gracefully when pushed against the…
Sidebar 1: Measurements
On the test bench, the Music Reference RM-9 exhibited a flat frequency response when driving an 8 ohm resistive load at 1W, as shown in fig.1. The right channel's output (dotted trace) was about 0.2dB higher than the left's. Adding 2.2µF of capacitance in parallel with the load resistor produced the trace in fig.2. Note the rising HF response and change in scale from 0.2dB per division to 1dB per division. Fig.3 shows the RM-9's frequency response driving a simulated 20-liter, sealed two-way loudspeaker. (Our thanks to Kenneth Kantor of NHT for supplying us with…
Dick Olsher reviewed the RM-9 Mk.II in October 1994 (Vol.17 No.10):
My last encounter with the RM-9 was in December 1989 (Vol.12 No.12, p.105). I was taken by its even tonal balance, imaging capabilities, and seductive midrange—especially when outfitted with KT88s—and gave it a strong Class B recommendation.
Now, almost five years later, Music Reference has released the Mk.II version, which, at least on paper, appears to contain only minor upgrades. That in itself is prima facie evidence that the basic design of the RM-9 was sound. The High End has a history of unleashing on an…
Sidebar 2: Specifications
Description: All vacuum-tube design. Power output: 100Wpc (20dBW). Input impedance: 100k ohms. Input sensitivity: adjustable, 0.4–1.2V.
Dimensions: 17¾" W by 11¾" D by 6½" H. Weight: 60 lbs.
Serial numbers of samples reviewed: 137 & 198 (Mk.I); not noted (Mk.II.
Price: $2450 with EL34 output stage, $2750 with KT88 output stage; an oak base is standard, but rosewood is available optionally for an additional $100 (1989–1994). No longer available (2013). Approximate number of dealers: 25.
Manufacturer: RAM Labs/Music Reference (1989). Music…
The Anima is a two-way loudspeaker from Canalis Audio, a new enterprise of longtime importer Immedia, of Berkeley, California. Canalis is thereby related to Spiral Groove, and Canalis speakers bear the Spiral Groove logo on their terminal plates. Spiral Groove, founded in 2005, makes turntables; their SG2 ($15,000) was favorably reviewed by Brian Damkroger in the June 2010 issue. Canalis makes at present four models of loudspeakers, all designed in collaboration with noted engineer Joachim Gerhard, formerly of Germany's Audio Physic. All Spiral Groove and Canalis products are made in the US…
Given all that, why would I consider the Canalis Anima to be a "new" loudspeaker? I view the Canalis Anima the way I view Harbeth's P3ESR, vis-à-vis the BBC LS3/5a from which it descends. In both cases, the footprints are the same, and the cabinets can function as drop-in replacements (Harbeth's P3ESR can drop into the soffit space left by a defunct LS3/5a). However, design changes in each case have resulted in performance that I believe constitutes a clean break with the predecessor's. In the case of the P3ESR, the cabinet remains the same, but the drivers and crossover changed. With…