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Alta Audio Alyssa
Stereophile
|December 2020
At first look, our November 2020 review of the standmount loudspeaker ($5000/pair) from Alta Audio1 appeared to be a thorough vindication of the Stereophile method of reviewing, combining measurements with a subjective listening journal. John Atkinson’s measurements were generally fine, but he uncovered “strong discontinuities in the impedance traces at 174Hz and 291Hz [that] imply the presence of resonances.” They could only be internal airspace resonances, since he found the Alyssa’s cabinet to be admirably inert.
Nearfield measurements of the port and woofer showed response peaks close to those same frequencies. The sonic and musical effects of such resonances would at worst be modest, but they could be audible; in fact, John predicted that they would be. “I would expect this behavior to color the sound of male vocals,” John concluded.
Independently—Stereophile reviewers don’t see measurements until after their review is submitted—Herb Reichert reported “a vexing lack of focus in the lower midrange and upper bass.” It was especially noticeable in male vocals, including two tracks he auditioned from Ry Cooder’s album Jazz.
Herb wondered, “Was it the speakers I was hearing or their interactions with the room and my amplifiers?” Because of his room’s modest dimensions, Herb avoids speakers he thinks might overload it. He reviews almost exclusively standmounts, smaller floorstanders, plus the odd smaller Magnepan. The Alyssas are standmounts, but they go deeper than is usual for standmounts of their size and weight. “In a larger space, with lower levels of reflected bass energies, the Alyssas would, perhaps, present themselves with a more balanced tone and sharper lower-midrange focus. Perhaps another Stereophile reviewer can audition these speakers in a larger room.” I decided to try to answer Herb’s conjecture.
My room isn’t perfect,2 but it’s big, and I’ve rarely had any serious problems with room interactions—just the usual bass modes, and here they’re reasonably tame and well-spaced.
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If you find yourself in Monaco on a Sunday night, make your way to La Note Bleue, a cozy restaurant and music bar on the beach by the Avenue Princesse Grace. There, you're likely to find a legendary world/fusion guitarist sitting in with a group of young jazz musicians eager to cut heads with the acknowledged maestro of inner awareness and otherworldly spirits. Forever known to some as “Mahavishnu,” you can call him by his birth name, John McLaughlin.
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3 mins
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4 mins
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Stereophile
STEREOPHILE'S 34TH ANNUAL PRODUCT OF THE YEAR 2025 AWARDS
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21 mins
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Some marketing claims are true
None of the amps I build are better than the others,” Justin Weber of Ampsandsound told me not long after we met. “They are just different.” I may have smirked inwardly. According to his company’s website, Weber makes no fewer than 23 amplifier models, many capable of driving both headphones and speakers, ranging from the $2700 Kenzie OG to the $38,000 Arch Monos. Are they really all equally good?, I wondered. Surely this was just a clever Buddhist ploy to distract us from some of his amps’ high prices. Doesn't the extra $35k spent on the Arch Monos buy you something more desirable than the performance offered by the little Kenzie? Writing for an audio magazine means I hear a lot of marketing claims, some more risible than others, and I have learned to take them with an entire seabed worth of salt.
11 mins
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Lotti Golden
Her life became a whirlwind. Taking the train in from Brooklyn to Manhattan to pitch songs and experience the East Village scene, she landed a song-publishing deal at age 14. In 1968, at 18, after a chance meeting in an elevator, a legendary songwriter/record producer was interested in assisting her in making her debut album. Released on Atlantic Records in 1969, Lotti Golden's Motor-Cycle was wildly experimental and ahead of its time. Seemingly poised for success, the album and her career suddenly vanished.
4 mins
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Baby you can drive my car(tridge)
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10 mins
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19 mins
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MANUFACTURERS' COMMENTS
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2 mins
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