35 years on from Sonus faber's birth, a blessed return to the values on which it was founded: the Electa Amator III
Two blasts from the past in one month, both small two-way monitors, both with a massive presence in my hi-fi history, but so dissimilar that loving both seems like a case of schizophrenia. As with the LS3/5a, I have been a devotee of Sonus faber for over 30 years, though of late the passion has cooled. But something tells me that the company has again found its mojo, and the Electa Amator III is its herald.
Taking a load off your mind, these headphones are claimed to be the lightest open-backed planar magnetics around. Great for comfort – but what about the sound?
We've reached the stage in the renaissance of the planar magnetic (aka isodynamic) headphone where merely being one is no longer worth more than a passing mention. In fact it's a few months since I've had anything but PM headphones arrive for review. So to be more than the PM headphone du jour, any new model needs something extra: a true USP.
This month we review and test releases from: Karen O & Danger Mouse, Madison Cunningham, Landgren/Wollny/Danielsson/Haffner, Fumio Yasuda and Boston SO/Andris Nelsons.
While first to market with a portable player, Sony soon found itself overtaken by rivals. Its answer was a now-iconic machine, driven by a belt. But how does it sound today?
Sony's original D-50 'Compact Disc Compact Player', released in late 1984, was the first practical portable to reach consumers. Named to commemorate the company's 50th anniversary, the player's ¥50,000 price tag ensured that it dominated the market. However, the fact that it cost ¥100,000 to manufacture meant that this came at some expense to Sony.
The inaugural product in Colorado-based Boulder's 500 series is this MM/MC phono preamp – fully balanced throughout, including the connection to your turntable
Modern phono stages seem to fall into one of two camps – those with multiple inputs, multiple gain options and a seemingly endless permutation of impedance and capacitance settings [see EAT E-Glo S, HFN Mar '17], and those, like the Boulder 508, that seek to minimise switching and variable gain in favour of one, potentially simpler, signal path.