John Atkinson

When Stereophile's Product of the Year Awards were first published, in 1992, we decided that unlike some other publications and their awards schemes, we would keep the number of categories to a minimum. That way, we would avoid what the late Art Dudley once described as the "every child in the class gets a prize" syndrome.

This decision led to some interesting contests. In Loudspeakers, for example, high-value minimonitors compete with cost-no-object floorstanders. In Analog Products, turntables compete with tonearms, phono cartridges, and phono preamplifiers. And in Amplification, single-box integrated amplifiers go up against separates, and low-power tube designs compete with high-power, solid state behemoths. In Budget Product of the Year and Product of the Year, products from every category competed against each other: Out of all the products that Stereophile reviewed over the whole year, which product offered the best bang for the buck or sounded the best overall?

The "Bowers" in the name of British manufacturer Bowers & Wilkins (B&W) refers to founder John Bowers, whom I got to know fairly well before he passed in 1987. In recent years, I've reviewed two Bowers & Wilkins loudspeakers: the 705 Signature two-way standmount in the December 2020 issue and the Diamond Series 804 D4 three-way floorstander in the January 2022 issue. More recently, Tom Fine reviewed the three-way, floor-standing Signature Series 801 D4 in March 2024.

Currently there are two models in the Signature Series, which was launched in 2023 to pay tribute to the company's groundbreaking John Bowers Silver Signature from the early 1990s: the 801 D4 and the subject of this review, the two-way 805 D4 standmount, which B&W describes as its "highest performance standmount ever."

At the end of 2020, the Federal Trade Commission proposed eliminating what had come to be known as the "Amplifier Rule," which had been in effect since 1974. Then-FTC commissioner Christine S. Wilson wrote, "Freeing businesses from unnecessarily prescriptive requirements benefits consumers."

To me, that made no sense. Far from imposing "unnecessarily prescriptive requirements" on amplifier manufacturers, the Amplifier Rule had long forced manufacturers to clean up their acts.

As I wrote in an article published on the Stereophile website in 2021, in the hi-fi boom that began in the 1960s, the Institute of High Fidelity became alarmed by amplifier manufacturers exaggerating their products' output power. Such mystical numbers as "Peak Power" and "Music Power" were used willy-nilly to produce sales-oriented ratings with little to do with reality.

After 27 years, yesterday was the final day AVTech's webmaster Jon Iverson was responsible for overseeing the company's websites, including this one. Now in his mid-60s, Jon felt it was time for him to retire while he still had the energy to explore his other interests.

In December 2023, I took the train from New York to Los Angeles to attend the Los Angeles & Orange County Audiophile Society's 30th annual Gala. I took the trip because it is both stimulating and satisfying to spend an afternoon in the company of more than 200 audiophiles and music lovers; I also wanted to see John Curl presented with the Society's fourth Innovation Award, by George and Carolyn Counnas of Zesto. John was given the award "for his groundbreaking contributions to the field of solid-state audio amplifiers, circuit innovation, mastering recorders and much more."

I first met John more than 40 years ago, at a Consumer Electronics Show in Chicago, where I was blown away by John's intuitive and innovative approach to circuit design.

When standalone digital/analog processors made an appearance a quarter-century ago, they were limited to the CD medium's 16 bits of resolution—at best. These days, almost every DAC can process at least 24 bits, and many models offer between 20 and 21 bits of real-world resolution. Modern models from Benchmark, dCS, Merging, Mola Mola, Okto, and Weiss illustrate not just the skill of the circuit designer but also that of the engineer who laid out the printed circuit board.

One of the first digital processors I encountered that offered 21 bits of resolution was the Weiss DAC202, which Erick Lichte reviewed in January 2012. Subsequent processors from this Swiss company have consistently performed well, not just on the test bench but also in the listening room.

Three products were recently subjected to second opinions: I reviewed the revised RS250A version of HiFi Rose's RS250 streaming D/A preamplifier and the optional DC1 DAC module for Audio Research's I/50 integrated amplifier; Ken Micallef wrote about his time with the Volti Razz loudspeaker.