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Gryphon Diablo 300

Jeff FritzI began my column “The World’s Best Audio System” (TWBAS) on February 1, 2004. In that first installment, which introduced the first TWBAS event, I profiled the original Wilson Audio Specialties Alexandria X-2 loudspeakers, the Halcro dm68 mono power amplifiers and dm8 preamplifier, the EMM Labs DAC6e digital-to-analog converter, and a Meitner-modified Philips SACD1000 SACD/CD transport, along with a bevy of power products and cables from Shunyata Research. The total cost of that system was about $205,000. At the time, such a price would have been considered cost-no-object by most sane audiophiles.

Over the course of the next decade I spent considerable time and effort to make TWBAS enjoyable -- columns, videos, photo galleries, and hundreds of letters and postings on various Internet audio forums. In that time, by my count, we published some 65 “TWBAS” columns; most of them covered a single product that had been designed to challenge the state of the art in its category.

Jeff FritzLast month, I wrote an “Opinion” piece titled “Can Someone Please Answer These Questions?!” One of my four questions was “Is Devialet really, really better than everything else?” I asked this because the buzz about Devialet’s integrated amplifier-DACs has been so ridiculously positive that I just needed to know the truth as heard through my own ears. This month I answer that question and another, about Devialet’s SAM system. But first, a bit of background . . .

At Munich’s High End 2014, Devialet introduced a host of new versions of their basic product: an integrated amplifier-DAC that is actually so much more. The 120 ($6495 USD), 200 ($9495), 250 ($17,495), 400s (two chassis, $17,495), and 800s (two chassis, $29,995), are all shipping now. These models, as Hans Wetzel explained in his recent review of the Devialet 120 on our sister site SoundStage! Access, are essentially last year’s versions, but with software upgrades that increase their power and improve their performance.

Jeff FritzBeing entrenched in high-end audio for the past two decades has given me plenty of insight into the inner workings of this business -- because I regularly talk with manufacturers and readers, I get to hear from both sides of that equation. And since I’m editor-in-chief of the SoundStage! family of publications, I know the press angle, too. But sometimes, I just can’t figure out the burning audiophile questions that are staring me right in the face.

This article is a cry for clarity. Here are my current stumbling blocks, most of them the results of attending Munich’s High End 2014 this past May. My e-mail is jeff@soundstagenetwork.com. Write in with a good answer to one or more of these and I’ll publish your response. Just include your name and your country of origin. Here they are:

Jeff Fritz listeningI’ve just returned from Munich’s High End 2014. I had a great time. Doug Schneider and I have been saying for several years now that this annual show is the most important display of high-end audio products anywhere in the world -- it’s the best show, in the best venue, with the best organization of any event that has anything to do with promoting high-end audio. According to the High End Society -- the German organization that produces High End -- 18,000 visitors attended the 2014 show to see gear representing 900 brands. Part of the reason High End is so successful is its venue, the Munich Order Center (MOC). This 323,000-square-foot facility was designed and built to house conferences and trade shows. The building itself is bright and spacious, with 142 display rooms, large halls and conference rooms, and glass-paned atria. It’s accessible and logically oriented, and it’s surrounded by a great city -- everyone seems to love to come to Munich for its excellent restaurants, tourist attractions, and sheer walkability.

Jeff FritzIn last month’s “How to Know You’re Getting Something Good Part One: Quality Control,” I discussed and gave examples of some critical nuggets of information contained in our SoundStage! Global factory tours that allow the buyer to exercise greater discernment in selecting high-end-audio products to audition. Quality-control measures are often overlooked processes that are not fully revealed in equipment reviews, but they are captured in many of our company visits. I feel more confident buying from a manufacturer that has in place a robust regimen of testing and evaluating its products as they are being made. Before it’s put in the box and shipped out, is the component you’re considering all it’s supposed to be? A good company will have ensured that it is.

QC at ARCThe SoundStage! Network’s SoundStage! Global website is one of the best resources I know of for researching manufacturers of high-end audio gear. The factory-tour articles published there can give you critical information about companies that you’ll rarely get from a review -- or most other places, for that matter.

I was reminded of this while editing the two tours Doug Schneider conducted just last month: of Magico, in California; and of Audio Research Corporation, in Minnesota.

I’ll explain the most important elements of our factory tours, so you can easily spot them -- or their absence -- in future tours. For the very first tour we conducted for SoundStage! Global, in February 2011, Doug and I visited Florida, the home of JL Audio. In the “Home Products Assembly” section of that tour you’ll see some critical processes in place at JLA that ensure that you get a subwoofer that meets its specifications every time. First, notice that each part of each subwoofer is individually tested before assembly. The raw driver is measured, the amplifier is measured, and the cabinet is inspected -- only then are they all put together to form a finished sub. But that’s not enough. Rather than assume that, since all the component parts are to spec, the final product will also perform optimally, JLA takes it a step further by measuring each fully assembled subwoofer. This is critical -- only at this stage will errors in assembly or inadvertent damage to subassemblies be apparent, any of which could result in the finished sub not performing to spec -- or not powering up at all. JL Audio ensures that this doesn’t happen by employing multiple stages of quality control at various points in the manufacturing process. This QC redundancy is crucial, and should set the buyer’s mind at ease.

MartenMartenThis is a bit late as these things go here at the SoundStage! Network -- Doug Schneider got his “The Best of CES 2014” out in February. However, this article doesn’t cover only the best stuff I saw at the big Consumer Electronics Show; here, I also talk about the absolute duds. Still, that’s a poor excuse for being a month late. Here goes.

First, the misses.

While the Marten Coltrane Supreme II loudspeaker didn’t sound downright bad, it sure didn’t sound great. For the $450,000 USD a set of these costs, the implications are horrendous. C’mon, guys. Maybe the room acoustics were really poor, maybe the electronics were a bad match -- whatever the case, for the money being asked for a setup like this, the sound should be transcendent. It wasn’t.

Bruno Putzeys and Peter RothBruno Putzeys and Peter RothWhile the show’s name is the Consumer Electronics Show, it’s actually a trade show not generally open to the consuming public (although at every CES some industrious consumers find a way in). At CES 2014, however, I thought it would be interesting to ask some veterans of the high-performance audio industry what they would, if they could, impress on those not in attendance, be they music lovers, established audiophiles, or aspiring newbies. These folks have seen it all -- I wanted to find out what wrongs they would try to right, what insights they’d like to pass along, what advice they might offer. While their range of responses was fairly wide, they developed into several key themes. Without further ado, I turn it over to the experts.

2013 POTYJanuary 1 is when the SoundStage! Network officially reveals its Products of the Year for the preceding 12 months. The best place to get a by-the-numbers rundown of that list is to read Doug Schneider’s annual “Opinion” article on SoundStage! Hi-Fi. He does his usual nice job of telling you why each component was chosen and what’s special about it. Here, in the you-never-know-what-you-might-read world of SoundStage! Ultra, I give you an alternate take -- mine -- on each product. Here goes:

Jeff FritzGetting e-mail from readers is one of the most enjoyable aspects of being an audio reviewer for the SoundStage! Network. I appreciate that people take the time to write me in order to get my opinions about buying decisions that cost thousands -- sometimes tens of thousands -- of dollars. Granted, audio gear is not a matter of life or death. Still, I treat each question as if I were the one about to spend that money. I want readers to get it exactly right -- I might be partially responsible for the choice they make, so it needs to be right.

Over my 15-plus years as a reviewer I’ve been constantly humbled by the fact that I get to work with people who are far more knowledgeable about the design and performance of audio equipment than I am. One of the most important lessons that audio reviewers need to learn early on, if they are to keep their credibility intact in this industry, is that they do not know as much about technical matters as the engineers who make the good equipment. Often, reviewers sit on their high horses, claiming a profound knowledge that has somehow eluded the designers of the gear they’re listening to, even though they would have no idea how to design such a product themselves. In every recent such case I can recall, this has been nonsense. I’ve just read an article (and no, I will not link to it here and promote it) in which a reviewer dropped a few thousand words on how loudspeaker designers are cheating their customers by not wiring their speakers with audiophile-grade wire. I wonder who might actually spend thousands of dollars based on this guy’s “expertise.”