Reviewed this month: Kuzma's Stabi Reference turntable
A young reader who's been a Stereophile subscriber since junior high, and an "Analog Corner" fan for nearly eight years, sent me a copy of "A Vinyl Farewell," by David Browne, which appeared in the October 4, 1991 issue of Entertainment Weekly. In the article, Browne kisses the LP goodbye, lovingly, nostalgically, and not at all dismissively. Accompanying the article is a photo, perhaps unintentionally suggestive, of an unusually large stylus floating above a record and about to make contact with a hairball of dust. The caption reads, "Playing an LP suddenly feels as foreign as a druidic ceremony."
Not quite a meeting of the minds at Home Entertainment 2004: Michael Fremer (right) explains to Ken Kessler (left) why LPs sound better than CDs. (Photo: John Atkinson)
It wasn't exactly heroic or even particularly daring, but has anyone ever attempted to install a phono cartridge while facing a room full of audiophiles at a hi-fi show, as I did during my "Analog Clinic" at Home Entertainment 2004 in May? Not that I know of.
Despite the Clinic's being scheduled at 2:30 Sunday afternoon, the butt end of the Show, the seats were filled.
Origin Live's Resolution Modern turntable and Encounter tonearm
Hand-wringing audiophiles' tales of equipment malfunctions regularly litter my e-mail box. "Why can't this stuff be more reliable?" It has been my experience that most gear is incredibly reliableor that was my experience until April 2004.
reviewed in this column: Clearaudio’s Emotion turntable and Satisfy tonearm.
A friend of one of my wife's high school friends e-mailed recently asking for help in setting up his turntable. The guy, in his early 40s, is not a hardcore audiophile and doesn't read the magazines. He just got it into his head one day not long ago that he'd like to start collecting vinyl. So he went to eBay, got himself a Thorens TD-165 for $150, and started buying LPs online. Now he's hooked.
"Do you want to see how they build Pro-Ject turntables?" It was Sumiko's John Hunter, phoning me out of the blue.
"Sure!" I've reviewed a few Pro-Ject designs over the years, along with the Music Hall 'tables, which are built in the same factory, and I've long wondered how one small company in the Czech Republic can manufacture such a wide array of products while making almost every part in-house. When Hunter added that the visit to Pro-Ject would be bracketed by stops at Vicenza, Italy and Vienna, Austria to visit (respectively) Sonus Faber and Vienna Acoustics, I was ready to pack. Besides, between the lunacy of January's Consumer Electronics Show and the assembly line of products arriving at and departing from my listening room, I needed a break, hectic though the five-day trip would be.
"Attention K-Mart shoppers! America is open for business." With the dollar sinking to record lows against foreign currencies and deficits rising to record highs, overseas buyers looking for bargains flocked to the 2004 Consumer Electronics Show in larger numbers than I've seen since I began attending the show in 1978. I have never seen the Alexis Park Hotel as crowded as it was on the show's first day. Usually, attendance is sparse the first two days as West Coast dealers stay away, preferring to tend to retail business. But this year Thursday was packed, and the following days even more so.
If you're looking for something completely new and/or different in a turntable design, you won't find it in Musical Fidelity's new $5000 M1 turntable. The M1 uses tried and true mechanical concepts, design strategies, and materials, with an emphasis on precision machining. The goal, according to MF's press release, was "very low mechanical and electrical noise, excellent mechanical isolation, speed accuracy and stability, [and] pitch control."
"What's this? The new Thorens turntable? It doesn't look like a Thorens turntable."
That's what I thought as I unboxed the new Thorens 850part of the new 800 line from the rejuvenated company. Sure, I'd seen mockups at trade shows, but until I get the finished product in my hands, I really don't pay careful attention.
Bose ran a full-page ad for its Wave radio a few weeks ago in the New York Times. The headline was "Proof That Great Ideas Get Heard." The company patted itself on the back for winning a technology award for the radio from "Forbes ASAP." The award cites the Wave as being one of 15 "world-changing" technological breakthroughs, on an equal footing with Bell's telephone, Edison's light bulb, and the invention of the CD.
When I read that, my morning coffee went up my nose and back into the cup.
Like the LP itself, the dream of a turntable that could read grooves with a laser beam would not die. The Finial Technology laser turntable has been resurrected as the ELP Laser Turntable by the ELP Corporation of Japan. ELP is headed by Sanju Chiba, an analog true believer and ELP, which has been building and selling the Laser Turntable since 1997, recently announced three LT models with improved sonic performance and user interfaces, including CD-like programmability and remote control.
This is the 100th "Analog Corner" I've written for Stereophile. Thanks to all for reading the column, and for taking the time to send me and the magazine so many letters, complimentary and otherwise, over the eight years and four months it's taken to reach 100 installments. In that time we've witnessed one of the greatest resurrections since...well, I don't want to get into John Lennon's trap, so let's just say the unlikely survival and rebirth of analog in the age of digital everything has been one of the most gratifying phenomena I've witnessed in my life as an audiophile. If I've played some small part in that, all of the hard work has been worthwhile...
The innards of the ASR Basis Exclusive phono preamplifier, reviewed in this column.
Press kits arrive at my house almost daily, trumpeting one thing or another, including upcoming hi-fi shows around the world. Recently, none has provided quite the jolt to my system as one sent by Steve Rowell of Audio Classics in Vestal, New York. It's for the New York High Fidelity Music Show, September 29October 3. Don't worry, you haven't missed it. Well, you haveby 38 years. Rowell sent me a genuine classic: a press kit for a hi-fi show held in 1965.
Every edition of Primedia's annual Home Entertainment show (formerly known as Stereophile's Hi-Fi Show) takes on a life of its own, even if the venue, the participants, and the products are mostly familiar. It has to do with a confluence of factorsthe paying customers, the weather, current events, whatever seems to be the hot industry trend, and just "the ether."
Home Entertainment 2003, held this past June at San Francisco's venerable WestinSt. Francis Hotel, was no exception. The contours of this show's personality were drawn in greater relief for those of us who had attended the previous show at this venue, back in 1997.
Before I write about Music Hall's MMF-9 turntable (above), in my March 2003 review, I wrote that the SME 30/2 turntable's combination of attributes "might just make it the finest turntable in the world." Earlier in the review, I'd said, "The SME 30/2 is perhaps the most tonally neutral turntable I've ever heard. Only the Rockport System III Sirius, which includes an integral tonearm, is in the same league, and it doesn't stand up to the SME's low-frequency extension and solidity." I wrapped up the review with: "Overall, the SME Model 30/2 is the best turntable I've heard."
When I came upon Giuseppe Viola's handiwork at the 2000 Top Audio Show in Milan, Italy, I said to myself, "Here's a guy with a fabulous machine shop and too much time on his hands." Most designers are satisfied to introduce a turntable. Not Viola. At Top Audio, under the V.Y.G.E.R. name, he introduced a whole line of hand-built, air-bearing tonearms and turntables. When I met the gregarious Giuseppe (aka "Pino") later that day, he came across as a most enthusiastic, gnome-like character, eager to demonstrate his gleaming creations and explain their workings.
Viola had much to be proud of: He'd developed a massive, true air-bearing platterone that "floated," both radially and axially, on a thin film of air . . .