The parallels among the three companies don't end with their British origins and founding year. Each was started by someone born in the immediate aftermath of World War II. The late Julian Vereker of Naim, eldest of the three by a few months, was born on the very day that Germany surrendered to the Allies to end the war in Europe. Do the math, and you'll find that all three founders were 27 years old, give or take a month, when they set up their respective companies. I guess that must be the right age for starting a successful hi-fi manufacturing business.
There was already a thriving British audio industry long before 1973. Great companies like Quad, Tannoy, Leak, Garrard, Wharfedale, and (as I will discuss a bit later) Collaro paved the way. British hi-fi was big business, but it really shifted into a higher gear in the 1970s as British baby boomers schemed to move up from their parents' music systems, typically a standalone mono record player like a Dansette or Pye Black Box, to a more substantial component stereo system.
As you might expect now that it's 2023, all three companies have introduced a product to celebrate a half-century in business, and it's interesting to compare what each has brought to the table. Naim introduced the NAIT 50, a modernized, limited edition of their popular NAIT integrated amplifier from 1983, which retains the throwback style Naim fanboys like to call Chrome Bumper. The NAIT 50 looks nearly identical to its predecessor, but at $3599, it's about three times the inflation-adjusted price of the 1983 amp. Despite that, a production run of just 1973 (get it?) units means that they're likely to sell out quickly.
Bu hikaye Stereophile dergisinin November 2023 sayısından alınmıştır.
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Bu hikaye Stereophile dergisinin November 2023 sayısından alınmıştır.
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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.
