Luxury audio has recently been gaining market share in an industry that was, at its beginning, about the pursuit of the high-fidelity reproduction of sound and music. I’ve seen the shift in more and more product introductions of the past decade -- components costing six figures and systems costing millions abound.
Last month I wrote “System Finished: MSB Technology Discrete DAC.” In that article I detailed what went into my selecting this fantastic digital-to-analog converter from California as a permanent part of my audio system. Then I gave a rundown of everything in my new audio rig, which I began assembling in July 2017. As stated in that article’s title, that system is now finished, and I can breathe a sigh of relief.
Man, can I drag things out. I wrote the first installment of “Jeff’s Getting a New Stereo System,” for SoundStage! Ultra, in July 2017. That series of six articles, the most recent published in December 2017, chronicled my search for -- you guessed it -- a new audio system. When I conceived of the series, I was about to move from our former home, had just sold my $400,000 reference stereo system, and was looking forward to whatever might be next. Perhaps the title of the series should have been “Jeff’s Getting a New Stereo System . . . or Not.”
I wondered -- if I were putting together a system of used components today, what would I buy? So this morning, housebound by COVID-19, I passed some time by going to Audiogon.com and assembling a virtual audio system. Because, well . . . why not?
I cut my audiophile teeth on Krell amplifiers. I loved them and owned many of them, from KSAs to MDAs to FPBs -- even the flagship Krell Audio Standards. Back in the day, Krell amps provided what I wanted from an audio power amp: the control, the sweetness, the bass. To say I held founder-designer Dan D’Agostino’s work in high regard would be an understatement.
“If you love what you do, you won’t work a day in your life.” My father used to say that, but like so many things in life, it’s easier said than accomplished. I began writing for the SoundStage! Network in 2011, while finishing grad school. I was young, bright-eyed, and naïve. When I took over as Senior Editor of GoodSound! (since rebadged SoundStage! Access), I had a hunger to learn and write as much as possible about the high-end audio industry. Given my consumer-oriented obsession with value for money, Access, the SoundStage! Network’s budget-oriented website, was the perfect fit.
As the editor in chief of the SoundStage! family of websites, I’m sometimes pitched ideas by reviewers. Often these ideas are quite good. For example, our resident jazz expert, James Hale, inquired about writing “Best of the Decade in Jazz” for the December 2019 edition of SoundStage! Xperience, in place of his monthly review. I gave him the go-ahead, and the resulting article turned out to be one of my favorites for the year, and one I’ll consult when I’m in the mood to hear a jazz release I might have missed.
Last May in Munich, walking the halls of High End 2019, I happened on perhaps the most physically imposing digital-to-analog converter I’ve ever seen: the Wadax Atlantis Reference DAC. I quickly learned that its over-the-top visual design is matched by its price: €110,000. For a DAC. One DAC.
Last month, in “The Ultra High End Better Start Offering More,” I explored what I would require of a new pair of flagship stereo loudspeakers circa 2019. The article has been bothering me ever since I wrote it, though probably not for the reason you might assume. I’ve been an audiophile for more than 30 years, and you might suppose that, in the interim, a bit of nostalgia had hit me, and I was feeling myself pulled back by hankerings for the days of old. That couldn’t be further from the truth. I’m bothered by last month’s article because I think it didn’t go nearly far enough.
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