Steven Stone

Imagine an electronic magic wand you could wave at your listening room's acoustical problems to make them disappear. The Cambridge Signal Technologies SigTech TF 1120 may be just such an alchemical device. Its efficacy depends on the nature of the acoustical warts in your listening environment. Operating solely within the digital domain, the SigTech device can perform both drastic and subtle frequency-response and time-domain corrections that are beyond the scope of analog-based units. While the TF 1120 is expensive, in some situations it may still be the most cost-effective way of coping with acoustical gremlins. Is it the solution to your problems? Perhaps.

The Greek myth of Odysseus has always been a favorite of mine. For an audiophile looking for a CD transcription system under $2500, it seems to be an especially appropriate metaphor. Almost all the units I've heard since CD's inception fall into one of two camps: the Sirens or the Rocks.

For those of you not up on your Greek mythology, the Sirens were the archetypal seductresses whose sweet songs lured sailors to drive their ships upon the rocks. Siren CD players are those that soften and sweeten the sound. Their primary purpose is to seduce, to give a false sense of comfort to their victims; their fidelity to the truth is secondary to their desire to elicit a positive emotional reaction.

There are two kinds of audiophiles: those who own original Quad ESL speakers and those who don't (footnote 1). This review is for the former, although the latter may find it of some interest. The Gradient SW-57 subwoofer attempts to do for the original Quad (footnote 2) what Gradient's SW-63 (footnote 3) does for the Quad ESL-63: supply the bottom octave while relieving the ESLs of the strain of reproducing low bass.

Threshold is one of the longest-surviving high-end audio companies. Founded in the 1970s by <A HREF="http://www.stereophile.com/interviews/1191pass">Nelson Pass</A> and Ren&#233; Besne, it was acquired by a large, publicly traded corporation in 1988. This had both positive and negative results in that Threshold was then able to expand its activities, adding the cost-effective Fort&#233; line of products, but energies were drained away from cutting-edge design. Besne left the company in 1991, while Pass resigned in 1992 to pursue other interests. (These blossomed into the Pass Aleph 0 amplifier reviewed by DO in March '95, Vol.18 No.3.)

We all have biases. The trick is knowing your biases so they don't get in your way. Mine are pretty obvious. I don't like "fussy" gear that demands special care and feeding. I'm lazy&mdash;I want to just turn stuff on and begin listening. Perhaps that's why I have a positive bias toward <A HREF="http://www.stereophile.com/interviews/1191pass">Nelson Pass</A>'s designs. They're reliable, untweaky, and usually sound good.

I live in a house that has a pyramid-shaped roof, so I guess you could say that I have a thing for pyramids (footnote 1). That's probably why I was immediately drawn to the Green Mountain Audio Diamante. I'm also attracted to floorstanding speakers with small footprints, since my listening/video room is only 13' by 16'. My Holy Grail of loudspeakers is a small speaker that's flat between 20Hz and 20kHz, can do 110dB sound-pressure&ndash;levels without straining, and costs less than $1000/pair.

The official designation for FM is Frequency Modulation, but <I>I</I> think FM stands for Fresh Music. Since before the age of recorded time, FM has been where you go to hear new music, be it the latest Jimi Hendrix album or a recent release from the Kronos Quartet.