I first auditioned a pair of Chario Academy One minimonitors five years ago, but the review was aborted when the Italian Chario company lost its US distribution. When I reheard the Chario Academy Ones at the 1997 WCES, I found their elegant cabinetwork appealing and their sound listenable and involving. I therefore requested a pair for review from the new US importers.
With the popularity of home-theater systems, subwoofers have proliferated. Because multichannel AV receivers are designed to provide a properly filtered, line-level subwoofer, or low-frequency effects (LFE) signal, many subs no longer come with built-in high- and low-pass filters for insertion into two-channel audio systems. However, the PB13-Ultra subwoofer from SV Sound does include these, which is what piqued my interest in it. After Ed Mullen, SV Sound's director of sales, assured me that the PB13-Ultra was capable of reproducing solid 20Hz organ-pedal notes in my listening room, I asked for one to review.
Determined to find out more about <A HREF="http://www.stereophile.com/floorloudspeakers/608revel">Revel's Ultima Salon2</A>, I tracked down designer <A HREF="http://www.stereophile.com/interviews/390voecks">Kevin Voecks</A> late on the second day of the <A HREF="http://blog.stereophile.com/ces2008">2008 Consumer Electronic Show</A>. I persuaded him to step outside the demonstration suite of Harman International Industries, Revel's owner, high atop the Las Vegas Hilton. We spent an hour chatting about Voecks's design goals for Revel's new flagship. I asked Kevin what had led his team at Revel to develop a new Ultima Salon loudspeaker after 10 years?
The Fourier 6 has the special ability to generate large coherent sonic fields, from a box small enough to slip into an ordinary shopping bag. At $499/pair, the 6 competes directly with another remarkable-imaging, compact American speaker, the <A HREF="http://www.stereophile.com/standloudspeakers/446">Spica TC-50</A> ($420/pair).
Back in March 1998, Revel's Ultima Salon1 floorstanding loudspeaker generated quite a stir at <I>Stereophile</I> (<A HREF="http://www.stereophile.com/floorloudspeakers/96">Vol.22 No.3</A>). Our reviewers were impressed by its seven designed-from-scratch drive-units, its ultramodern enclosure with curved rosewood side panels, exposed front tweeter and midrange, rear-facing reflex port and tweeter, and a flying grille over the mid-woofer and woofers. In the December issue (Vol.22 No.12), the Ultima Salon1 ($16,000/pair) was named <I>Stereophile</I>'s "<A HREF="http://www.stereophile.com/features/178/index1.html">Joint Speaker of 1999</A>" for its "big bass, timbral accuracy, low distortion, dynamics, lack of compression, and best fit'n'finish."
One question posed by John Atkinson at the July 1991 <I>Stereophile</I> <A HREF="http://www.stereophile.com/features/109">Writers Conference</A> had to do with the ease of reviewing: Is it harder to write a bad review of an expensive product than a good review? I find it hardest to write a good review of an inexpensive product. If I admire a less expensive loudspeaker, for example, it may become a recommended component, and can displace a more expensive speaker (that received mixed comments) from our twice-yearly rankings. This can be a big responsibility; even a conditional rave of a low-cost product means that JA may assign another <I>Stereophile</I> reviewer to do an immediate follow-up report. The Snell Type E/III loudspeaker may be a good case in point.
I think every audio reviewer hopes for a surprise—when a good, but not outstanding, product is refined by the manufacturer into something special. The review then becomes an exciting discovery, reaffirming the pleasure one takes in good audio, and in listening to music being reproduced as it should be. It makes the listening exciting and the writing easier. The Classé Fifteen solid-state stereo amplifier is just such a surprise.
<I>Room lock</I> occurs when a set of loudspeakers reproduces the deep-bass notes of a pipe organ powerfully enough that the sounds can be felt as pressure waves. On Day 2 of the <A HREF="http://blog.stereophile.com/he2007">2007 Home Entertainment Show</A>, in one of the Sound By Singer rooms, our own <A HREF="http://www.stereophile.com/thefifthelement/">John Marks</A> played his recording of organist James Busby performing Herbert Howells' <I>Master Tallis's Testament</I> through a pair of Fremont loudspeakers from Escalante Design. The sustained bass note at the end of the passage took my breath away—the stand-mounted Fremonts sounded as open and dynamic as anything else I heard at HE2007. I wondered if they'd sound as good in my home listening room.
