Audacious Audio

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John Atkinson  |  Apr 13, 2009  |  0 comments
It's been a while since I auditioned a Meridian CD player in my system. I had enthusiastically reviewed the English company's groundbreaking Pro-MCD player in early 1986, and over the years had kept up with the progress they were making in digital playback, either through my own reviews or by performing the measurements to accompany reviews by other Stereophile writers. The 508-24 player, reviewed by Wes Phillips in May 1998, was one of the finest digital products of the 1990s, I thought. But when Meridian began promoting surround sound and DVD-Audio at the turn of the century, their goals became somewhat incompatible with my own. Yes, I can appreciate what surround playback can do, but my own musical life is still solidly rooted in Two-Channel Land.
John Atkinson  |  Apr 18, 2017  |  9 comments
As I mentioned in my review eight years ago of Meridian Audio's 808.2 Signature Reference CD player, I have long been impressed by the British company's components—in fact, ever since the early 1980s, when I purchased a Meridian 101 preamplifier, followed by my very positive experiences with Meridian's MCD Pro and 208 CD players, 518 digital audio processor, D600 and DSP8000 digital active loudspeakers, and, most recently, the Prime and Explorer D/A headphone amplifiers.
Michael Fremer  |  Jul 26, 2018  |  51 comments
Not everyone needs a power amplifier that can deliver 888W RMS into 8 ohms or 1776W into 4 ohms. You could say that no one needs one of these—or two, if you want to listen in stereo. Most household AC systems can't even provide enough current to deliver all that power. But Simaudio does build Moon 888 monoblocks, and people do buy them, whether or not they need an amp that weighs about 250 lb each and costs $118,888/pair.
Michael Fremer  |  Jul 21, 2016  |  10 comments
Simaudio saw disc-based digital audio in its rear-view mirror at least as far back as 2011, when it introduced the Moon Evolution 650D and 750D—two iterations of what it called a "digital-to-analog converter CD transport." These were actually multiple-input CD players, but Simaudio was evidently so eager to distance itself from the spinning disc that it went with a product category that, in spite of its cumbersome, run-on name, drew a clean line between the disc-reading and signal-processing functions—while bestowing upon the former second-class citizenship.
Jon Iverson  |  Oct 07, 2012  |  7 comments
The audiophile does not pursue music reproduction because it is useful; he pursues it because he delights in it, and he delights in it because it is beautiful. If music were not beautiful it would not be worth knowing, and if music were not worth knowing life would not be worth living.

My apologies for corrupting the well-known statement by French mathematician Jules Henri Poincaré (1854–1912), in which he described his relationship with science and nature. But substituting audiophile for scientist and music for nature, I feel the sentiment expresses what drives many audiophiles to the extremes for which mere mortals often chide us.

Sam Tellig  |  Apr 25, 2013  |  First Published: Oct 01, 2012  |  1 comments
In April 1987, Anthony H. Cordesman had mixed feelings about the Mod Squad Passive Line Drive System Control Center. (Read his review here.) Introduced in 1984, the Line Drive offered volume and balance controls, five line-level inputs, and switching and monitoring for two tape decks. You didn't plug it into the wall; it provided no gain. Was it even a proper preamp? (footnote 1)

AHC demurred. "I'm not sure that I'm ready to advise anyone to take the risk of not buying a unit with a top-quality phono stage, no matter how well CD or DAT perform," he concluded, between commenting on Middle East wars.

Michael Fremer  |  May 15, 2010  |  0 comments
Musical Fidelity's Tri-Vista kWP, introduced in 2003, was an impressive, high-tech, "statement" audiophile preamplifier. Its outboard power supply weighed almost 56 lbs—more than most power amplifiers—and its hybrid circuitry included miniature military-grade vacuum tubes. As I said in my review of it in the January 2004 Stereophile, the kWP's chassis and innards were overbuilt, the measured performance impressive, and any sonic signature imposed on the signal was subtle and, essentially, inconsequential.
John Atkinson  |  Sep 02, 2011  |  11 comments
"That's just silly on so many counts, Antony."

I was talking last winter to Musical Fidelity's Antony Michaelson, who had been enthusing about his forthcoming stereo amplifier, the AMS100. It would be physically enormous—almost a yard deep—and commensurately heavy at 220 lbs. Despite its bulk, its maximum rated output would be just 100Wpc into 8 ohms. It would also be expensive, at $19,999. And to cock a snoot at environmentalists and their concerns, the AMS100's output stage would be biased into class-A up to its rated 8 ohm power, meaning that, even when not playing music, it will draw around 10 amps from a typical US wall supply of 120V. This also means that it will run very hot, making the amplifier impracticable for summer use in homes without central air-conditioning. Like mine.

Michael Fremer  |  Jun 23, 2009  |  0 comments
Musical Fidelity's founder, Antony Michaelson, arrived at my house to help me set up the two chassis of his sleek, limited-edition, $30,000 Titan power amplifier. (The task requires at least two people.) A week later, a representative of Musical Fidelity's US importer, KEF America, dropped by to listen and to deliver three of Musical Fidelity's new V-series products: a phono preamp, a DAC, and a headphone amp. All three fit comfortably into a small paper bag; the price of the three was $700.
Robert J. Reina  |  Apr 05, 2013  |  First Published: Apr 01, 2013  |  2 comments
Branding can be powerful—a well-developed brand connotes strong images in the consumer's mind. Apple means ergonomics, elegance, ego. Fremer means analog, exuberance, fastidiousness. Rolex means Swiss-made, precision, expensive. Nagra means Swiss-made, precision, expensive.
Steve Watkinson  |  Nov 13, 2018  |  First Published: Sep 01, 1986  |  0 comments
The great debate that has long separated audiophiles is tubes vs solid-state. Other topics, CD for example, may temporarily steal the spotlight, but year-in and year-out no other subject is the cause of as much controversy as whether tubed or solid-state circuitry produces the more accurate sound. As is typical with long-standing feuds, the split runs deep, and tempers often flare.
John Atkinson  |  Oct 30, 2014  |  7 comments
For a reviewer, deciding which products to write about is a tricky business. You want to do a professional job of evaluation, but you also want to be able to wrest maximum enjoyment from your music while you do so. Attending audio shows is where reviewers perform sonic triage, weeding out the products that aren't ready for prime time, and making a note of those they wish to invite home after the show.
Brian Damkroger  |  Jun 23, 2016  |  45 comments
It would be an understatement to say that in 2001, when Nordost introduced their original Valhalla cables, they were a revelation for me. Their focus and resolution of detail were like nothing I'd ever heard, and revealed in recorded performances a startling energy and realism. Throw in their seemingly absolute transparency, and similarly unique levels of spatial and temporal precision, and the Valhallas established a new standard of sound quality in audio cables. Although their tonal balance was cool, as I reported in my first review of them in the November 2001 issue, they were the only game in town in terms of reproducing the feel of a live performance. I immediately adopted them as a reference cable, and they remain a reference for me today.
Jason Victor Serinus  |  Aug 26, 2022  |  67 comments
When I was a young man, blind dates were always laced with anxiety. (Proms were even worse. Once, when I arrived in a rented tux and my father's prized dress gloves, my date's father ordered me to take out the trash.)

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