So this is where the rubber hits the road. It’s decision time. It all started back in December of last year, when I reviewed the Bowers & Wilkins 801 D4 Signature loudspeaker. As you can tell by that review, I was blown away by the experience. I said it before, and I’ll say it one more time: These were the best speakers I’ve yet had in my room. Huge bass, outstanding imaging. A unique sonic signature with a rising top end, yes. But so clean, and so pure-sounding that I just couldn’t get enough.
Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.
My background, before taking charge of SoundStage! Ultra, is in IT. I’ve been a COBOL programmer, systems analyst, team leader, QA tester, and technical writer, all at varying times, sometimes running each task in series on the same project. I’ve gathered business requirements, coded up processes, and then tested my own code. I wrote it, so I know what to test, right?
Note: measurements taken in the anechoic chamber at Canada's National Research Council can be found through this link.
Behind the loudspeaker reviewed here is the story of a man with skill and interest in two seemingly unrelated fields: stonework and speaker design. Valerio Cora had the idea to bring those two fields together, and set about through painstaking development to bring that idea to fruition.
It’s early August, and I’ve just returned from Europe. In Vienna, I stopped in at Pro‑Ject Audio Systems and European Audio Team, which are sister brands, then traveled to the Netherlands, where I visited International Audio Holding (IAH), parent company of Siltech, Crystal Cable, HMS Elektronik, and Sphinx Audio Engineering. My writeups of both visits will be going live on SoundStage! Global right soon, but I’ve got a few pressing deadlines that I have to attend to first. Karen Fanas, our miracle-working art director (she’s made a thriving career out of removing dust from my photos), is going on holiday next week, so I need to submit my photos right now. And since I’m doing photography, I have to write up this editorial before I do anything else.
Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.
Hi-fi as physical art—that’s a concept manufacturers (and consumers) have wrestled with since sound reproduction became a thing. To deliver music into a living space, you need speakers, an amplifier, and a source component. There are many ways to accomplish this. One way is to build the speakers into the wall and sequester the electronics in another room. This works reasonably well, but it would take a monumental effort to achieve the same sound quality as that delivered by a pair of freestanding speakers and some performance-driven electronics.
It’s a polarizing band. People either like or absolutely hate Van Halen. Note that I said “like,” and not “love.” It’s hard to love Van Halen, as—to me anyway—the band’s music lives in the moment you’re listening to it. Van Halen’s music is a roller-coaster ride that’s all about the immediate experience. It’s bolt-of-lightning, shot-out-of-a-cannon music. There’s no subtlety here. Add in a whole bunch of misogynistic banter that’s straight out of a high-school boys’ locker room, and it’s no wonder the band is polarizing.
As I write this, I’m panicking a little. It’s Friday, July 11, and I’m starting to make little piles around the house as I pack for my flight to Europe this coming Monday. I’ll be in Europe for nearly two weeks as I visit the Pro‑Ject Audio Systems / European Audio Team and Siltech / Crystal Cable headquarters. Then I’ll be writing up factory tours of those facilities, and you’ll get to read about them on SoundStage! Global in the next few weeks.
About eight years ago, I was sitting in the lobby bar of the Hotel Bonaventure in Montreal, Canada. It was the Saturday night of the 2017 Montreal Audio Fest, and the bar quickly filled up with many of the exhibitors. I recall that particular evening as a time of easeful conversation lubricated by very good local beer. I spent a good hour chatting with Harry and Mat Weisfeld of VPI Industries. That father-and-son partnership made for good company—Harry’s quiet and calm demeanor, along with his wealth of analog knowledge, paired perfectly with Mat’s unbridled enthusiasm.
I’ve owned a record player since I was 13 years old—1976, if I remember correctly. That record player became a turntable about four years later, with my acquisition of a Technics SL-B2 standalone deck. The Technics begat a Rega, and the Rega begat a Roksan. From Roksan to Pro-Ject, then from Pro-Ject to VPI, we arrive at the present.
Two months ago, I related my experience as I dug into a carton filled with sufficient Siltech Royal Single Crown cables to wire up the core of my system. Although I was tempted—more than you can imagine—to simply rip open each box and stuff the full set into my system, I took a measured approach. With the review going live on the same day as that column, it made more sense to check out the speaker cables first, so into the system they went. After I’d finished the review, I found myself eyeing those unopened boxes of screamingly high-end cables.
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