The largest standmount in AVID's all-alloy Reference range is bigger and heavier than most floorstanders...
Standmount speakers – it's easy to see why they're popular. They're relatively compact and light enough to position with ease, whether on bookshelves or stands. They aim to offer a compelling sound in smaller spaces, are affordable, often due to mass-production overseas, and can be driven with ease by relatively modest amplification. Trouble is, the AVID Reference Three, while undeniably a standmount speaker, flies in the face of all the above.
Better known for high-end behemoths, the US is also home to high-value hi-fi from Emotiva. We pick up the story as the feature-rich TA1 integrated replaces the TA-100
The general consensus is that film sequels are rarely as good as the original, the likes of The Godfather Part II being an honourable exception. In consumer electronics, on the other hand, any follow-up simply has to better its predecessor to justify its existence. This is the aim of Emotiva with its BasX TA1 integrated amplifier, a refresh of the earlier BasX TA-100 [HFN Apr '19]. Yet unlike many Hollywood studios, it's been careful not to erase fond memories of the original in favour of a full franchise reboot. There's an awful lot about the TA1 that is identical to its predecessor.
The longest serving, and arguably most diverse of Pro-Ject's turntable ranges is the Debut, launched in 2000. Now there's a new model, with an equally new S-shaped arm
Launching new turntable models as regular as clockwork is part-and-parcel of Pro-Ject's business model, but say what you will: its approach of incrementally improving and tweaking proven designs has certainly not done the Austria-based manufacturer any harm. Lacking accurate market numbers, it's hard to say conclusively, but there seems little doubt the company founded by Heinz Lichtenegger in 1991 is surely the largest turntable manufacturer on the planet, both for the in-house Pro-Ject brand and as an OEM supplier for third parties.
Martin Colloms | Dec 16, 2022 | First Published: May 01, 1997
The no-compromise 2010 preamp and 2020 DAC are part of the US manufacturer's ongoing 2000 series project. Martin Colloms listens
Boulder's founder and chief engineer Jeff Nelson gained his first audio engineering experience with studio mixing desks and the design of a professional cartridge tape unit. This led to a constructive interchange with the late Deane Jensen, the audio transformer wizard and the originator of a classic 'operational amplifier'. This was not an integrated circuit but one implemented at good power and wide bandwidth via the use of discrete devices.
Crafted as part of Clearaudio's 40th anniversary celebrations, the Jubilee MC features the brand's proven moving-coil mechanism housed in a 'bullet-proof' jacket
How time flies: Clearaudio was born during the height of analogue playback, survived the arrival of digital, stuck to its guns and is now enjoying the fruits of its loyalty to the vinyl cause. Along with a vast array of record decks, Clearaudio has 16 moving-coil cartridges in its catalogue – yes, sixteen. To mark its 40th birthday, the company has added one more to the middle of the group of MCs, those featuring the distinctive 'flower' top plate as seen on the flagship Goldfinger Statement [HFN Jan '15]. The new Jubilee MC, however, is a third of the Goldfinger's cost at £4460.
Believing portables to be as good as their full-sized rivals, many music lovers sought out the smallest – and this CD player was a compact king. How does it sound today?
Think about portable CD players and the chances are that the Sony Discman [HFN Jul '19] will come to mind. The company's ability to produce enchanting and compelling miniature versions of existing products has been pretty much unequalled, and 'the world's smallest' is a phrase that can often be seen in Sony's vintage catalogues. In comparison, the company's larger models were frequently bland and derivative.
Replacing the outgoing 3010 series with trickledown experience from the costlier 5010 range, Exposure's 3510 stable just got busier with the launch of a new pre/power
Who remembers the Stella Artois ad that proclaimed its lager was 'reassuringly expensive'? A slightly odd slogan, if you ask me, but it came to mind when setting up Exposure's 3510 pre/power pairing, only substituting the word 'expensive' for 'simple'. Here are two hi-fi products where simplicity has been elevated almost to an art form, reflected in the casework, choice of connections and user experience. And at £1590 a piece, these recently launched models aren't outrageously expensive.
Built originally for pop sensations ABBA, this studio inside a disused cinema has rocked to the sounds of Genesis, The Ramones and Led Zep. Steve Sutherland has the story
There were four in the group but most of the time only two made it to the studio. One absentee was holed up in a nearby hotel attempting to kick a drug habit. The other was an alcoholic who could hardly get out of bed and would die soon enough, choking while passed out in a stupor.
One-time royalty of the horn-loaded full-range driver, Lowther is reclaiming its crown. We hear the 'princess'
Although I am no devotee of horns, I adore two of the genre's specialists, Lowther and Klipsch, and recall the delights of the former's Bicor and Acousta. But I had thought Lowther had joined other defunct brands until I met Martin Thornton in late 2019, at the last pre-Covid Tonbridge Audiojumble. I was overjoyed to hear that he had acquired the company's remnants, designs, name and everything else needed to relaunch it. Three years on, and he's arrived with an all-new Lowther, dubbed the Almira.
Psychedelic rockers? Punks? Flag-bearers for the New Wave? This fourth album from the UK quartet proved they could be all of the above and now ranks as one of their best, even if it meant their regular producer would walk away, saying they were 'losing it'
In 1976 The Stranglers were a fixture on the pub rock circuit and were also in at the very start of punk, supporting The Ramones on their historic first UK date in July that year. But while they developed in parallel to this new wave in music and were certainly associated with it, they didn't really fit in.