Ohio-based SVS throws all its speaker know-how into a high-value concave cabinet bristling with custom drivers
Between 2017 and 2022, SVS comprehensively overhauled its range of subwoofers, introducing models from the 80kg PB16-Ultra to the compact 3000 Micro. A quiet spell followed as SVS tackled a new project – an all-new flagship loudspeaker series, topped by the model on test here.
This month we review: Orch National de France/MAcelaru, Sol Gabetta/Bertrand Chamayou, Michael Spyres, Les Talens Lyriques/Christophe Rousset, and Stéphany, Spence, Foster-Williams, Gabrieli Consort et al/McCreesh
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Now remastered several times, Britten’s War Requiem was recorded by the composer in 1963. Christopher Breunig recalls its Coventry premiere and, later, his cheeky cub reviewer’s account
Reissued last November on vinyl and in digital formats, Benjamin Britten’s Decca recording of his War Requiem was produced at Kingsway Hall by John Culshaw, and engineered by Kenneth Wilkinson, in January 1963 – eight months after its Coventry Cathedral UK premiere.
With programme notes now written and translated by chatbots, and record covers created by image generators, can the first classical AI recording be far behind? Peter Quantrill thinks not
It was the word homotonal that caught my eye. Surely no one writes like that in 2024, I wondered to myself. I read on. ‘Similar to Plato’s ideas of the imprint of moral virtues onto the human soul through music…’ – eh? Bear in mind I was reading a booklet note to accompany a new album of Mozart’s piano sonatas. I flipped the page to look for the author’s credit. No name given.
Jim Lesurf remembers a former HFN stalwart as he battles with the poor ergonomics and insufficient printed manual of a new audio purchase – before sending it back for a refund.
Many years ago I saw a poster which showed a young woman in a wheelchair at the top of a flight of stairs that led down to a public washroom. The point being made was simple: she wasn’t disabled by being unable to walk. The problem was that whoever installed the facility had ignored the existence of people who found the stairs a barrier.
Hi-fi’s traditional distribution model has evolved due to the Internet, but the price of high-end equipment will always remain high, says Barry Willis – it’s more fine art than mass-market tech
Last month I touched upon the economics of audio – in particular, the unlikely possibility of getting back a substantial fraction of the money put into high-performance equipment. Long ago, the rule of thumb was that suggested list prices for high-end products were generally five times factory cost. That was when multi-tiered distribution was still the rule – manufacturers delivered goods to distributors, who in turn offered them to dealers. Distributors provided marketing assistance, employing sales reps who called on dealers, did demonstrations, and could intervene in the case of defective products.
Ohio-based SVS throws all its speaker know-how into a high-value concave cabinet bristling with custom drivers
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