When he grew sick of the car-because it made him look "like a frickin' ad for Ikea"-I paid him 600 Dutch guilders for the old heap, the equivalent of about $300 US.
Nothing worked as it should. The stalk for the blinkers was missing; I substituted a screwdriver. The radio was like a wavering zombie: dead one day, sputtering to life the next. I got well acquainted with jumper cables. One day, I opened the trunk and found tiny mushrooms sprouting from the carpet.
On the plus side, I never received a speeding ticket: The engine smoked if you drove faster than 45mph, so I didn't.
Years later, when I got into hi-fi, I thought of that car and subsequent ones. What stood out to me most about high-end audio was: separates. Rather than gravitate toward worthy one-box solutions, audiophiles seemed obsessed with splitting things apart. They had to have a standalone power amp, preamp, sources, speakers, cables. "What if you bought a car that way?" I thought to myself. A suspension from one manufacturer, a chassis from another, wheels from a third-and yes, a used blue hood from a junkyard. Seems pretty mental. No thanks.
It's not a precise analogy, I realize. When you have to get from point A to point B, you buy a one-box automotive solution. Bolting together mismatched car parts wouldn't work at all. Audio, on the other hand, is more or less standardized. Most components are easily connected, and they work together reasonably well. Still, even if you forgo 1950s all-in-one consoles, '70s receivers, and (ugh) '80s boomboxes, why can't the desire for great sound be sated with a single-box fix, just like transportation? Just please give me something that works better than my French jalopy did.
Everything you need (almost)
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Denne historien er fra July 2023-utgaven av Stereophile.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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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.
