INTEGRATED AMPLIFIER
After playing the speakers for me, he began removing his zip-cord speaker cables and paused to show me how, at the amplifier end, his red-plastic Pomona Electronics banana plugs had partially melted from the Al's heat. We both laughed.
After it first appeared in 1985, the AI quickly became famous for its hot top plate. The top plate got as hot as it did because it was used as a heatsink for the output transistors, which were biased highly into class-A. The Al's hot top made tabloid headlines, but for me it was its bold, sinewy, un-transistory sound and timeless, sharply drawn styling that distinguished it from cooler running Brit-fi competitors such as Audiolab's 8000A, Creek's 4040, A&R Cambridge's A60, and NAD's 3020.
Despite the Daily Mirror headlines, it was the Al's all-natural sonics-not its top-plate temperature-that made it an instant classic.
Now it's back, looking and feeling cooler than before.
As I type this, it is 85°F in my room, and I just held my palm 1" from the Al's chassis-top heatsink and could barely feel heat rising up-maybe none at all. Using a digital oven thermometer, I measured the chassis-top temperature at 140.1°F (60°C): too warm for toddler fingers but 5° cooler than the original's design-specified heatsink temperature of 65°Celsius.
History
My introduction to Musical Fidelity's tuneful aesthetic began in the late 1970s, when Anthony Michaelson ran a company called Michaelson & Austin, which was selling EL34 tube amplifiers designed by the first audio designer I christened a "Tall Wizard," my soon-to-be friend and Triode Mafia brother Tim de Paravicini. Tim's design for the TVA-10 was a testament to our shared belief that in any properly designed audio amplifier, tubes and transistors sound alike. I believe Tim's design for Musical Fidelity's Al proved that point.
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Esta historia es de la edición October 2024 de Stereophile.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
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German kitchens, Japanese amps, and Afropop gems
BRILLIANT CORNERS - I have a day job at a museum. One of my favorite things about working there is taking the elevator from my office down to one of the floors open to the public; I walk into the galleries through a discreet panel in the wall. This makes me feel like I'm in one of those horror-movie manors with a tunnel concealed behind a bookshelf. Sometimes I startle people, which I kind of enjoy.
EDITOR'S PICK - RECORDING OF THE MONTH
The record business was awash in money and power. Vinyl LPs were still five bucks, and while the pressings could be suspect, the music-buying public still snapped them up en masse.
The Butthole Surfers wipe out
REVINYLIZATION - Music's lunatic fringe drifts further out every hour. As it should. In this century, with computers playing an ever-larger role, music continues to fragment and become infinitely more varied. This splintering is either the essence of what keeps it relevant as an art form or something profoundly disturbing, to be hated and feared.
You're only lonely
AURAL ROBERT - The least surprising story in music today is the inevitable passing of irreplaceable talent. Tenor saxophonist Benny Golson died at age 95 the day I finished this salute to another fallen star, Southern California singer/songwriter John David \"JD\" Souther.
PS Audio Aspen FR5 - LOUDSPEAKER
I remember the first PS Audio product: a simple phono stage. It was so simple - a passive RIAA eq filter flanked by a pair of primitive op-amps - that when the schematic was made public, I built one myself; I was in the midst of my DIY years. I thought it was, to use a word from that time, nifty.
TEAC UD-701N - STREAMING PREAMP, D/A CONVERTER
In Gramophone Dreams #88, I described the sound of TEAC's VRDS-701T CD transport as \"dense and precise in a way I had never previously heard from digital.\" I went on to explain, \"by dense, I mean there was a tangible corporeality effected by seemingly infinite quantities of small, tightly packed molecules of musical information.\"
Sonus faber Sonetto V G2 - LOUDSPEAKER
Here's a hard truth: A written review of a full-sized speaker any speaker, really-is, at best, semi-useful. We all listen differently, we have different musical tastes, our system electronics are different, and our listening rooms vary a lot. You will gain a general picture of a speaker's capabilities and foibles from John Atkinson's measurements, and I can tell you how the speakers sound to me, in my room. But that's it. You need to hear them for yourself before making a buying decision. The best I can do is tell you how my music brain felt when the speakers were in my house and making music.
STEREOPHILE'S 33RD ANNUAL - PRODUCT OF THE YEAR AWARD 2024
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.
Moon 861 - POWER AMPLIFIER
It is unusual to begin a review with a detailed discussion of setup. But setup protocol for the Moon 861 power amplifier ($22,000 each), the top-level amplifier in the North Collection from Moon, which I reviewed bridged in mono, proved crucial to its sound.
Mobile Fidelity, PrimaLuna, and First Watt redux
GRAMOPHONE DREAMS - It's important for readers to remember that I've spent my adult life as an artist and mechanic. Making things. Working as a tradesperson during the day then at an easel or workbench at night.
