The unsung sage who first observed that high-end audio is a solitary vice was probably not implying that audiophiles are antisocial; he was merely acknowledging the fact that a decent stereo stage is usually only audible from one place in the entire listening roomthe so-called sweet spot. Stray from that spot, and the whole soundstage shifts to one side, spaciousness collapses, and images become vague and unstable. This is the antisocial aspect: only one member of a group can hear good stereo at any one time. (The gracious host at a listenfest will take a secondary seat, allowing his guests to take turns sitting in the sweet spot.)
It is almost ten years since I last heard a pair of DCM loudspeakers, the Time Windows made famous by writer Peter Aczel in the first incarnation of his magazine The Audio Critic. The "Time" nomenclature traditionally used by DCM in their models refers to the fact that for any hi-fi component, its performance in the frequency domain is related to, and implicit in, that in the time domain, the two being connected by the mathematics of the Fourier Transform. To put it in simplistic language, a speaker's impulse response can be translated directly into its frequency response: all the information needed to show how its response varies with frequency is contained in the shape of the impulse it produces.
John Atkinson and I were in a Manhattan loft apartment that could have stood in for every sophisticated NYC loft you've ever seen in films. We were surrounded by fabulous contemporary art. Asian and South American antiquities were discreetly displayed. The furniture was sparse but choice. And, over in one corner, facing a conversation grouping of paintings, two sleek metal tower loudspeakers were making extremely convincing music. We managed to delay examination of this urban paradise long enough to drink adult beverages and inhale some music.
One of the joys of reviewing loudspeakers is that there are always intriguing aspects of any particular design. The problems involved in producing a speaker that has an even tonal balance, well-controlled directivity, good bass extension, and a smooth integration of the outputs from often widely disparate drive-units have what appears to be an infinite number of solutions. The result is often a speaker so different from the norm that it just cries out to be auditioned.
Such was the case with the Delaware Acoustics DELAC S10, which costs $629/pair. Only sold factory-direct, this would therefore have been low on Stereophile's priority list for review if it weren't for two things: first, the fact that the S10 was designed by one Ralph Gonzalez, a name that should be familiar to readers of Speaker Builder magazine for having written a very useful speaker design and analysis program; second, as implied in the first paragraph, the S10 is one of the weirdest speakers I have ever laid ears on.
In 2008, a pair of DeVore Fidelity's Gibbon Nine loudspeakers arrived at my home for a Follow-Up review. Within weeks, I wrote a check for them. That put me in good company: Several other reviewers who reviewed the Nines also bought their review pairs.
Ten years later, the Gibbon Nines are still my main speakers. That's the longest I've ever kept a pair of speakers in my main system, not counting the Polk Audio 7Bs I bought in 1980, when I was 16.
John DeVore names his speakers after primatesapes, to be specific. Something to do with a family member being a zoologist.
John once worked at a hi-fi retailer in lower Manhattan. Now, as president and chief designer of DeVore Fidelity, he manufactures loudspeakers across the bridge, in the former Brooklyn Navy Yard. I talked with John the other day about his new speaker, the Orangutan O/93.
John makes two Orangutans, both floorstanders: the O/96, with a sensitivity specified as 96dB, over which Art Dudley went ape, in the December 2012 issue. Artie has made the O/96 his reference loudspeaker. It goes for $12,000/pair, stands included.
Now there's the new, smaller Orangutan O/93, specified at 93dB. It retails for $8400/pair with a front baffle in fiddleback mahogany veneer (other veneers are available).
Loudspeakers have been commercially available for nearly a century, yet those whose drive-units are mounted to baffles of intentionally limited width didn't appear in significant numbers until the 1980s. That seems a bit strange, given that the technology to transform large boards into smaller boards has existed since the Neolithic era.
It was my hunt for new and interesting-looking turntables at the 2004 Consumer Electronics Show that introduced me to the loudspeakers from DeVore Fidelity. In the Glass Amplifier room I spied a Teres turntable with a Darth Vader-ish look and sat down to listen. From a pair of nondescript, two-way, floorstanding speakers so small they were almost lost in the room, came surprisingly present, full-bodied, and notably coherent music. Their sound so far exceeded my low expectations that I exclaimed, "What are those?! Whoever designed them sure knows what he's doing!"
Direct Acoustics is a loudspeaker company in Weston, Massachusetts, that sells, by mail-order only, just one product: the two-way, floorstanding Silent Speaker II ($748/pair).
Its seemingly paradoxical name refers not to any inability of the Silent to create sound, but rather is intended by its maker to indicate two aspects of its performance. First is the ability of the loudspeaker boxes to "disappear" in the sense of not being readily apparent as sound sources. Well, okay, everyone wants that. The other intended sense of Silent is that the woofer and its loading arrangement were designed to minimize stray noises created by the woofer's excursion, or by the movements of air within, or in and out of, its vent or port.
"DAL firmly believes that a full set of credible measurements, made by qualified engineering staff using state-of-the-art equipment and facilities, can reliably predict the potential of a loudspeaker to accurately reproduce the complex sounds of music."—Dunlavy Audio Labs
The first time I encountered Dunlavy's Signature Collection loudspeakers was at the 1993 Chicago Summer CES. I was familiar with, and had a lot of respect for, the speakers John Dunlavy had designed for the Australian Duntech brand, but I thought this new line clearly transcended his previous efforts—and at significantly lower prices. The model that I ended up reviewing—and, after the review (Vol.17 No.4), buying—was the SC-IV, subsequently honored as Stereophile's 1994 Loudspeaker of the Year and Product of the Year. In 1995, the SC-IV underwent changes, including a new woofer and a modified tweeter, resulting in some sonic improvements (see my Follow-Up review in Vol.18 No.3).
In this age of $70,000-plus "flagship" designs, perhaps $25k is no longer an obscene amount to pay for a pair of loudspeakers. Still, it's mucho dinero. What makes a speaker worth this kind of bread? Does the product's intrinsic value really warrant such a lofty cost, or is it merely a matter of pricing at what the market will bear? The answers to these questions requires careful examination of not only the speaker, but also of the buyer's own soul, priorities, and pocketbook.
When it comes to loudspeaker drivers, Dynaudio has earned an enviable reputation for quality and reliability. To use an automotive analogy, they are the Mercedes Benz of the driver universe. If you're a speaker builder, the odds are that you have already experimented with these drivers. And even if you're not a speaker builder, it's quite possible that your speakers use Dynaudio drivers. After all, some of the finest speaker systems in the world do. A case in point is the Duntech Sovereign, which single-handedly embodies almost the entire Dynaudio catalog.
Over a lifetime of audio shows, I've consistently enjoyed Dynaudio speaker demonstrations. Each time, I've told Dynaudio North America's Michael Manousselis that I'd love to review the speaker on display that year. But I never followed through. So, when Jim Austin suggested I review a Dynaudio speaker "because they haven't gotten much press," it resonated with my deep-seated guilt. A little research revealed that the last Dynaudio speaker Stereophile reviewed was the 40 Special in November 2018. The last floorstander was the Dynaudio Sapphire in 2009!
Judging absolute sound quality under the unfamiliar circumstances of an audio show is always fraught with difficulty. If a system sounds bad, there are so many possible reasons for it to do so that pointing a finger of blame at the components is possibly unfair. Conversely, when a room sounds good at a show, it is probable that the components being used deserve some recognition. Such was the case at Home Entertainment 2002 in New York last May, when Dynaudio's Confidence C4 made its debut.