The Sennheiser HD414 was a game changer in 1968. In those days hi-fi headphones were all big and bulky, closed-back designs, and the compact HD414 was the industry’s first “open aire,” on-ear (supra-aural) headphone. It looked, felt and sounded like nothing else and forecast the future direction of headphone sound.
The original Shure V-15 phono cartridge debuted in 1964 as a "statement" design. The engineering team was headed by Jim Kogen, who later became a Vice President of Engineering, and after that the CEO. The V-15 Type II arrived six years later and it was the first computer-designed cartridge. The Type III was the best selling model in the series, it came along three years later, long before the CD changed the course of audio history.
Shure was huge in the mainstream market, but by the late 1970s and through the 1980s most analog-loving audiophiles had graduated to moving-coil cartridges (the V-15 was a moving-magnet design). I preferred the sound of moving coil cartridges, but conceded the V-15's tracking abilities were well ahead of most of the expensive Japanese moving coil designs of the time.
Born in the U.S.A., Snell would love to build a set just for you.
Snell's new LCR7 speaker system stopped me in my tracks at last year's Consumer Electronics Show in Las Vegas. The look was so new and fresh, yet elegant, and there was just something about the way their aluminum ends set off the speakers' curves that spoke to me. Yeah, I'm a sucker for style; but, when I learned that the legendary speaker designer Joe D'Appolito had a hand in creating these snazzy Snells, I was hooked. I doubt there's another designer with more name recognition—he lent his name to the ubiquitous woofer-tweeter-woofer arrangement—a.k.a. D'Appolito array—way back in the early 1980s. His goals for this new generation of Snells were disarmingly straightforward: to have them play loud with low distortion, provide an amplifier-friendly load, and produce razor-sharp imaging. Even a cursory audition of an LCR7 speaker will prove that Joe D'Appolito isn't resting on his laurels.
As I unboxed this month's Spotlight System, I flashed on the innovative histories of Marantz and Snell Acoustics. Saul B. Marantz was a bona fide American audio pioneer in the 1950s and 1960s. His company's electronics not only sounded amazing, they were drop-dead gorgeous. Maybe that's why Marantz's early designs regularly sell on eBay for more than their original prices. Peter Snell was one of the brightest speaker designers to emerge in the mid-1970s. Back in the day, I owned a pair of his first speakers, the Type A, and had many conversations with Peter about music. In those simpler times, Saul Marantz and Peter Snell could launch their companies armed with not much more than a driving passion to produce great audio gear—and the inspired engineering to make the dream real. Best of all, both companies still adhere to their founders' perfectionistic traditions.
Price: $200 At a Glance: Excellent isolation from the world outside • Bass so solid, you won’t miss your subwoofer • Modular construction
I’ve reviewed more than a hundred headphones, but the Sol Republic Master Tracks is the first to require some “assembly.” No worries; Slip the headband through the ear cups’ slots, plug in the cable, and you’re done. The whole operation takes about a minute.
I don't think I've ever before referred to a speaker as "sexy," but Sonus faber's new Domus line is definitely hot stuff. Yeah baby, the Domus Series' enticing curves—sheathed in supple black leatherette, poised on spiked feet—will get audiophiles all hot and bothered. That's because they make for pretty sexy sound, too.
Sony introduced the world’s first portable CD player, the D-5, in late 1984, just a year after its first home player, the CDP-101, revolutionized the audio market. In the 1970s, Sony Walkman cassette players were as ubiquitous as iPods are now, and the new Discman players were poised to be the next big thing.
On April 15, 1968 Sony held a press conference in Japan to announce a new type of television, the Trinitron. The research team had just finished hand building ten prototypes, so they were shocked to hear Sony executives promising the TV would be in full production in less than six months! The very first Trinitron, the KV-1310, was in stores in October. A year later Trinitron came to the United States.
Steven Wilson is best known as the founder, lead guitarist, singer, and songwriter of the progressive rock band Porcupine Tree, but he’s becoming the go-to man for remixing classic rock recordings into 5.1 surround for DVD and Blu-ray. His recent solo album, Grace for Drowning, proves he’s just as adept in creating new music that fully exploits the surround soundscape.
What a long, strange trip it's been. I've reviewed hundreds of speakers—big towers, tiny satellites, high-end flagships, and a long run of budget models—but Sunfire's new XT Series Cinema Ribbon speaker is something different. I couldn't get over how this little thing, standing just 8.25 inches tall, can play bloody loud and project the sort of huge and still highly focused imaging I've only heard from exotic, big-bucks speakers. On well-recorded concert DVDs, like Pixies: Live at the Paradise in Boston, the Cinema Ribbons let me hear around each musician. It was as if the band had materialized, fully formed, in front of me. If I had any doubts about the pint-sized speakers' ability to handle gobs of power, rocking out with the Led Zeppelin two-disc DVD set convinced me. John Bonham's hand drumming on "Moby Dick" had the sort of tactile, palpable presence you hear in real life. With the volume cranked, I felt—and I mean felt—each whack on the floor toms. The Cinema Ribbons (with the assistance of Sunfire's True Subwoofer EQ) sounded like a set of tower speakers.