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John Atkinson Various Posted: Aug 10, 2008 Published: Aug 10, 1989 0 comments
Loudspeaker designers are dreamers. Something takes hold of a man—the fact that loudspeaker designers are all men must be significant—and he wrestles with recalcitrant wood, arcane drive-units, and sundry coils, capacitors, and cables, to produce something which will be individual in its sound quality yet inherently more true to the original sound. An impossible task. Yet if there were to be an aristocratic subset of those dreamers, it would be those who have taken upon themselves the burden of producing electrostatic loudspeakers. For these farsighted engineers, there is no standing on the shoulders of others, there is no recourse to tried and tested combinations of other manufacturers' drive-units. Every aspect of the design, no matter how apparently insignificant, has to be created afresh from first principles. For a new electrostatic design to produce a sound at all represents a great triumph for its progenitor, let alone having it sound musical. And to produce an electrostatic loudspeaker that is also possessed of great visual beauty is indeed a bonus.
John Atkinson Posted: Aug 01, 2008 Published: Nov 01, 1988 0 comments
The last time I was in England, I happened to be rummaging through some boxes in my mother's garage, boxes containing photographs, my old school books, concert programs, diaries, postcards—all the bric-a-brac you collect throughout your life that you'll never have a need for and can never discard. If anything, such rubbish is perhaps the nearest thing to roots that anyone can have these days. Among the boxes was an amplifier that had been an everyday companion of mine for many years, the vintage Vox AC100 I had used to amplify my Fender bass when on the road.
John Atkinson Fred Kaplan Posted: Jul 27, 2008 0 comments
There's a retro, Heathkit vibe to the curiously capitalized PrimaLuna ProLogue Eight CD player: a shelf of glowing tubes and a chunky transformer case perched atop a plain black chassis. But on closer inspection, it seems there's much more going on here. The chassis is made of heavy-gauge steel, with (according to the manual) a "five-coat, high-gloss, automotive finish," each coating hand-rubbed and -polished. The tube sockets are ceramic, the output jacks gold-plated. Inside, separate toroidal transformers power each channel. Custom-designed isolation transformers separate the analog and digital devices, to reduce noise. The power supply incorporates 11 separate regulation circuits. The output stage is dual-mono with zero feedback. Audio-handling chips include a Burr-Brown SRC4192 that upsamples "Red Book" data to 24-bit/192kHz, and one 24-bit Burr-Brown PCM1792 DAC per channel. Only the tiny silver control buttons (on the otherwise hefty faceplate of machined aluminum) betray a whiff of chintz.
John Atkinson Posted: Jul 24, 2008 0 comments
After a year spent exploring the best that can be obtained from minimonitor loudspeakers, I embarked on what will be an equally long examination of what floorstanding towers have to offer. I began with the Sonus Faber Cremona Elipsa ($20,800/pair) in December 2007, followed in 2008 by: in February, the KEF Reference 207/2 ($20,000/pair); in April, the PSB Synchrony One ($4500/pair); and in May, the Magico V3 ($25,000/pair). For this review, I've been listening to a speaker aimed at those with shallower pockets than are required even for the PSB: the Avalon NP Evolution 2.0, which costs just $1995/pair.
John Atkinson Posted: Jul 06, 2008 Published: Jan 06, 1992 0 comments
Back in the Spring of 1988, I was sent a pair of diminutive two-way speakers that totally redefined for me what miniature loudspeakers were supposed to be about. That model, Acoustic Energy's AE1, may have offered short measure in the low-bass department, but its apparently effortless dynamics, musically natural balance, and tangible imaging made it a winner. It also broke the mold of modern audiophile speaker design by featuring a 4.5" woofer with a metal cone just 3.5" in diameter. (Various companies have experimented with metal-cone drive-units in the past, only Ohm and pro-sound company Hartke having had any previous commercial success, though Monitor Audio now also offers a range of speakers with metal-cone woofers, their Studio line.) Since that time, Acoustic Energy has tried to produce a full-range speaker that built on the success of the AE1, but with only limited success, in my opinion. While their AE2 added a second identical woofer, and offered useful increases in bass extension and dynamic range, I felt it to be too colored in the midrange to be a real audiophile contender (see Vol.13 No.2, February 1990, p.134.)
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John Atkinson Posted: Jun 16, 2008 Published: May 16, 1989 0 comments
As I write, it is garage-sale season here again in Santa Fe, and a recent sign near my home advertised "Over 3000 LPs, good condition, low prices." To my surprise, the seller wasn't a yuppie enamored of his new CD player but a true collector discarding the duplicates and dogs from his collection. 30 minutes later, many LPs heavier—including a mint Flanders & Swan At the Drop of a Hat (footnote 1)—and not too many dollars lighter, I returned to a great night's listening courtesy of the black vinyl disc.
John Atkinson Posted: Jun 06, 2008 Published: Jan 06, 1992 0 comments
I've been musing much of late on what enables some hi-fi components to sound natural while others always seem to add an edge of artificiality to their sound. This dichotomy was examined in last month's "As We See It," where I asked a representative group of Stereophile writers to discuss the fact that many high-end components regarded as being neutral in their sonic character, with apparently little wrong in their measured performance, can actually sound quite unmusical. This would seem to suggest that the nature of what a component does wrong is of greater importance than the level of what it does wrong: 1% of one kind of distortion can be innocuous, even musically appropriate, whereas 0.01% of a different kind of distortion can be musical anathema.
John Atkinson Posted: Jun 05, 2008 Published: Jun 05, 1989 0 comments
When David Hafler sold his Hafler and Acoustat companies to in-car audio manufacturer Rockford-Fosgate a year or so back, things went quiet for a while as the new owners made arrangements to transfer production of both brands to their Arizona facility and took stock of where their new acquisitions stood in the marketplace. Then, at the 1989 CES in Las Vegas, the company made a reasonably sized splash with the first in a new range of Hafler products intended to lift the brand out of the hobbyist-oriented identity it had, perhaps inadvertently, adopted in the last few years.
John Atkinson Sam Tellig Posted: May 27, 2008 Published: Jan 28, 1988 0 comments
So far, as part of my quest to find good affordable box loudspeakers, I have reviewed 16 models, in the August, October, and November 1987 issues of Stereophile (Vol.10 Nos.5, 7, & 8). This fourth group of loudspeakers expands the price range covered, down to $329/pair and up to $1349/pair, and includes one model from California (Nelson-Reed), one from Canada (Paradigm), and one, Monitor Audio's "flagship," the R952MD, from the UK.
John Atkinson Posted: May 22, 2008 0 comments
The conventional wisdom in publishing is that magazines are dependent on scoops—that getting the news out to the readers first is of primary importance. Yes, being timely with what it has to say is important for any publication. But soon after I joined Stereophile in 1986, a series of negative experiences with review samples that were little better than prototypes led me to rethink the need for scoops. As a result, I decided to impose restrictions on what we chose to review; this would allow us to focus the magazine's review resources on products that were out of beta testing and were ready for prime time, and, most important, would be representative of what our readers could audition for themselves at specialty retailers, confident in the knowledge that what they heard would be what we had reviewed.

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