I’m a sucker for the double-down solid-state power amp. But to explain what this means and why it’s important to me I need to start about 30 years ago.
While I’ve always been passionate about home audio, I used to be rabid about car audio, and three decades ago I became very good friends with Colin Kay, owner of Autoworks Car Audio, here in Toronto. Colin introduced me to such esoteric concepts as tube monoblock amplifiers and external DACs (this was about the time Audio Alchemy pioneered the affordable DAC). He also infected me with Mobile Bass Disease.
Musical Performance: ****
Sound Quality: ***1/2
Overall Enjoyment: ****
In 1965, Dion DiMucci had been with Columbia Records for three years and had scored some hits for the label, including “Ruby Baby” and “Donna the Prima Donna.” He was already an established rock’n’roll star when Columbia signed him, but the label’s long-term plan was to move him away from rock and into a career as a crooner. As Scott Kempner points out in his excellent liner note for Kickin’ Child: The Lost Album 1965, a collection of 15 previously unreleased Dion tracks, record executives in the early ’60s still thought rock’n’roll was something that would soon fade away.
In Japan, the branch of esoteric Buddhism called Shingon (“the true words”) practices Goma, an intricate ritual of consecrated fire dedicated to destroying negative energies, detrimental thoughts and desires, and impure variations of the true words of this spiritual discipline. The flames of the Goma can reach several yards high, and this miraculous fire, combined with mass chanting from the assembled priests and accompanied by the pounding of huge taiko drums, can induce a sublime, trance-like state that’s said to heal the sick, summon rain, improve harvests, exorcise demons, avert natural disasters, and just brang that funky music to the worried heart. It’s supposed to present the pure spiritual Emptiness that is the true nature of reality, and to directly communicate the inner experience of Dharmakaya: the true self of the Buddha present in all beings.
In my 20 years of reviewing audio equipment, I’ve bought and sold a lot of gear. From the beginning, I took the tried-and-true audiophile path: each upgrade promised better performance than what had preceded it, and usually cost more. Through the years, the total retail value of my system has inched up in price, culminating in my current rig of Magico Q7 Mk.II speakers, Soulution 711 and 560 electronics, Nordost cables, and Torus power conditioner: about $400,000. That doesn’t include my custom listening room, the Music Vault, or all the money and sweat equity I’ve spent moving gear into and out of it.
Founded in Brilon, Germany, a small town some 90 miles north of Frankfurt, Audio Physic has for 30 years been earning accolades for producing high-quality, highly resolving loudspeakers under the slogan “No loss of fine detail.” More recently, AP’s reputation for quality, performance, and unique applications of loudspeaker design and materials has generated a lot of buzz on both sides of the pond -- in fact, their provocative products are one of the reasons I became a reviewer. So when I had the opportunity to review Audio Physics’ latest loudspeaker, the Codex, I jumped.
Format: CD, DVD, BD
Musical Performance: *****
Sound Quality: *****
Picture Quality: ****
Overall Enjoyment: *****
On June 1 of this year, Sgt. Pepper’s Lonely Hearts Club Band turned 50 years old. Let that sink in for a while. To mark the occasion, Apple and Universal Music have released a lavish boxed set comprising four CDs, one DVD, and one BD. The DVD and BD include a 1992 documentary, The Making of Sgt. Pepper (sic), plus high-resolution 5.1-and two-channel mixes of the album, along with the same treatment given to “Strawberry Fields Forever” and “Penny Lane.”
It’s been almost a decade since my last review of Furutech products: their G-314AG-18 and Absolute Power-18 power cords. I noted then that Furutech tries to squeeze every last ounce of performance from its products, not only through the use of innovative technologies, but also with obsessive devotion to detail and build quality. It seems that no improvement in sound quality is too small to be worth achieving, and no product can be overbuilt.
Theodore Roosevelt said that comparison is the thief of joy. It’s a lesson that most of us, at some point in life, learn the hard way. Keeping up with the Joneses is expensive, and not just in terms of money. Comparing your kids, your spouse, your income . . . these comparisons, often constant, lead to a life in which gratitude is in short supply and contentment is always just out of reach. Comparison in audio reviews is a different story. Once you buy something, the comparisons can stop. Maybe they should stop. But while you’re shopping, comparisons are critical to making wise buying decisions.
Vivid Audio’s chief designer-engineer is Laurence Dickie. You’ve probably heard of him -- many reviews of Vivid speakers mention Dickie in the context of the work he did at Bowers & Wilkins years ago. Remember the B&W Nautilus? That was Dickie’s project. Since 2004, Dickie has been designing the loudspeakers manufactured by Vivid Audio, which he co-owns with CEO Philip Guttentag. Vivid speakers are designed in the UK, where Dickie lives, and are made in South Africa, where Guttentag oversees the factory.
Musical Performance: *****
Sound Quality: ****
Overall Enjoyment: ****1/2
If, in 1969, the stomping bass line of “Christine’s Tune” didn’t clue you in to the fact that the Flying Burrito Brothers’ debut, The Gilded Palace of Sin, was going to be something different, “Sneaky” Pete Kleinow’s overdriven, fuzz-toned pedal-steel guitar solo should have clinched it. Gram Parsons, who co-led the band with Chris Hillman, had already helped introduce country music to rock with the International Submarine Band, and even more with the Byrds’ Sweetheart of the Rodeo, both from 1968. The Gilded Palace of Sin was a clearer statement of his vision.
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