It was almost seven years ago that Nelson Pass, whose talks and exhibits I'd covered at many a Bay Area Burning Amp DIY event and audio show, surprised me with a loan of two Pass Laboratories' XA 160.5 class-A monoblock amplifiers. Ten months later, after I'd commented that my system had challenged the XA 160.5s in the bass department, he sent me a pair of XA200.5 monos. I connected those bigger babies to Wilson Audio Sophia 3 loudspeakers and some now-discontinued digital components with Nordost Odin 1 interconnects and speaker cables. Then came my way, toward the end of 2016, the XA200.8 monoblocks ($42,000/pair).
Designers of hybrid amplifiers can use solid-state devices in an amp's input stage and tubes in its driver and output stages, as Music Reference's Roger Modjeski did in his RM-200 Mk.IIor they can use tubes in the input and transistors in the output, as Ypsilon Electronics' Demetris Baklavas prefers.
The advantage of solid-state at the input stage can be lower noise. In the RM-200 Mk.II's fully balanced design, carefully matched input devices result in high common-mode rejection and low-noise operation close to the levels achieved with the best input transformers. The RM-200 Mk.II's signal/noise ratio measured a healthy 95.4dB.
"How natural the sound," wrote Jonathan Scull in March 1994, in his Follow-Up on the original Jadis JA 200 monoblock amplifier, which then cost $18,990/pair. "How easy it was to follow the musical line and fall into the music. How deep, controlled, tight, and satisfying the bass. How magnifique the midrangethe traditional strength of the Jadis presentation. How full and satisfying the lower midrange. How open, airy, how right the highsnot at all hard, but very extended and natural. How involving their presentation. How full, how harmonically correct, how wonderfully compelling. How magical."
It's been more than seven years since the late Wes Phillips reviewed Vivid Audio's top-of-the-line loudspeaker, the Giya G1, for Stereophile, and since then the speaker has been seriously revised. At first glance you still notice the sui generis form; closer inspection reveals fundamental changes that make it, in most respects, an entirely new speaker.
I spend my days comparing cartridges and speaker stands, arguing about imaging and microphone placement, speculating about DAC filters, and lately, sometimes, very secretly listening to headphones connected not to commercially available headphone amplifiers but directly to the outputs of basic tubed and solid-state power amplifiers. No person in his right mind would or should try thisit's too easy to destroy a pair of delicate, expensive headphones. But for me, it's been worth the risk.
For as long as I've known about high-end audio, I've put Dan D'Agostino, co-founder of Krell, on the same pedestal reserved for the likes of Frank McIntosh, Saul Marantz, Avery Fisher, H.H. Scott, and Sidney Harman. The reason is simple: Dan's the man whose achievements at Krell led me from the harsh sound of my first high-end amp into another dimension, one of truly musical sound reproduction.
What? Johnny-come-lately turntable manufacturer Brinkmann Audio now makes a DAC? Are they desperate? What sampling rates does it support162/3, 331/3, 45, and 78? I guess the vinyl resurgence is over! Why else would Brinkmann make a DAC?
If that's what you're thinking, consider that Helmut Brinkmann began designing, manufacturing, and marketing electronics well before he made the first of the turntables for which his company is best known in the US.
Following my review of the floorstanding Magico S5 Mk.II last February, I spent some time with two-way stand-mounted speakers from Aerial Acoustics, Bowers & Wilkins, and Dynaudio. As much as I appreciated the small speakers' virtues, I found myself missing the big Magico's bass extension and ability to play loud; my next loudspeaker review, therefore, would be of another floorstander.
It's been a while since we published a review of a Rockport Technologies loudspeaker.
"As the original L2 circuitry was virtually flawless, it was the emergence of new electronic components that opened up a possibility of [even better performance] . . ."
So begins one of two bookletsone a collection of specifications and interior photos, the other a distinctly thorough user's manualincluded with the new L2.1 Reference line-level preamplifier from Brooklyn's Lamm Industries, earlier products from which have impressed me as among the best available. Indeed, coming from almost anyone else, the above quote would strike me as trivial boastingbut I know from experience that there's nothing trivial about designer and company head Vladimir Lamm.
Three years ago, when I first heard Audionet's Max monoblock power amplifiers, I described their pairing with YG Acoustics Hailey loudspeakers "an absolute winner" and "definitely one of the finer systems at T.H.E. Show Newport Beach." At subsequent audio shows, no fewer than four other Stereophile Contributing Editors enthused about different pairings of YG loudspeakers with Audionet amplification. Herb Reichert, at the 2014 Rocky Mountain Audio Fest: "Everything had a kind of just right quality. Totally impressive!" Sasha Matson, at RMAF 2015: "Marvelous" on vocals, "rockin' and tight" on bass and drums. John Atkinson, at T.H.E. Show 2016: "Duke Ellington's classic Jazz Party in Stereo . . . was reproduced with terrific dynamics." Larry Greenhill at the 2017 Consumer Electronics Show on the sound in the YG Acoustics room, which included Audionet's Max monoblocks: "the sound on playback of Jake Shimabukuro's ukulele wizardry came closer to matching his live performance than in most rooms."
Maybe you've seen the widely circulated New Yorker cartoon: Two guys stand in front of a nicely drawn, tubed audio system, under which are shelves full of LPs. One guy says, "The two things that really drew me to vinyl were the expense and the inconvenience."
If you can't laugh at that, you've lost your sense of humoreven acknowledging that, oddly, convenience is the raison d'etre of some recent phono preamplifiersincluding Dan D'Agostino Audio's Momentum and the CH Precision P1, both of which offer multiple, switchable, configurable inputs saved in memory. Today's well-heeled vinyl enthusiast might have two or more tonearms mounted on a single turntableor even two turntables, each with two arms. Zesto Audio's new Andros Téssera tubed phono preamplifier takes aim at that market segment.
Having discontinued the MAXX3 loudspeaker ($68,000/pair in 2009, when I reviewed it), Wilson Audio needed to plug the resulting gaping hole between the Alexia ($48,500/pair) and the Alexandria XLF ($210,000/pair). Company founder Dave Wilson was busy with the limited-edition WAMM Master Chronosonic loudspeaker ($685,000/pair), so son Darryl Wilson set about creating a speaker with a retail price of about $100,000/pair. The result, the Alexx, finally came in at $109,000/pair.
The Mark Levinson No.526 is the first preamplifier designed by a new 12-person team led by Todd Eichenbaum, director of engineering at the Harman Luxury Audio Group's Engineering Center of Excellence (ECOE), in Shelton, Connecticut. Designed to fit the price niche between the company's least and most expensive preampsthe No.326S ($10,000) and No.52 ($30,000)the No.526 costs $20,000.
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 componentsin 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.
"I'm a recording engineer, so I value accuracy," said a panelist in a discussiontitled "How to Read Between the Lines of Audio Advertising"at last October's Rocky Mountain Audio Fest. I, too, was on the panel, which was moderated by Brent Butterworth, a writer for the SoundStage! Network of online audio magazines.
"Accuracy is overrated," I interjected from the other end of the dais. "Accurate to what? To your sonic tastes? To what you hear on your preferred loudspeakers? Other than one's personal preferences, I'm not sure the term accuracy has much meaning."