[Warning: Bloviation Alert. The second half of this is what I meant to write on Wednesday for "Open Mike" this week. Marcin's right, I do go on too long when I get my teeth into a topic. —Ed.]
-
A few further thoughts about the concept of an "apex product":
It's not an average. Nor is it mediocre. It's an ideal.
...But a practical, utilitarian sort of ideal. One that takes into account more than just the normal hierarchy of status and expense. For example, with highly salable top-of-the-market products, such as, say, the VW Golf, which is the best-selling car in Europe, even though each iteration is not terribly costly, the company is justified in putting huge amounts of research, R&D, and engineering into the "template" on which the "workmanship of certainty" is performed (i.e., the production process). "Handmade" products, such as a Superformance, have an undeniable appeal, but handwork is simply not as good as when you can spend millions of dollars on a robot to do a specific type of precision weld. It's true that you can spend $300,000 on a Rolls-Royce, but a Honda Accord would cost $300,000 too if there were no mass market and it were made one by one in low total numbers by teams of craftsmen, and the engineering that went into it had to be amortized over a small number of sales.
So "ideal" for me incorporates a number of things not normally associated with status. Is it easily replaceable? Is it non-precious, such that it can actually be used, and, if it's appropriate for the product type, used up? Is it reliable? Is it easily repairable? Example of that: I knew a guy who bought his cars by picking his repair shop first, then asking the mechanics there what kind of car they most liked to work on. If they said Chevy Impala, then he bought a Chevy Impala (he tipped them a bottle of whiskey when they worked on it, too). By contrast, I also knew a guy who was a Ferrari mechanic in the '90s, and he told me that an oil change on certain cars had to be done by the dealer and cost $2,000. Guess which one I would judge to be more ideal?
And don't say "Ferrari owners can afford it," either—the same guy got out of the automotive field altogether because the average Ferrari owner—80% of them, he said—can't afford routine maintenance, and it just got too frustrating for him to so seldom be able to take care of the cars the way the manufacturer intended.
This little guy (3/8 to 1/2 inches in length) will cost me
at least $600 this year. Not ideal.
So, continuing with the list...parts availability; the exclusivity<—>anonymity spectrum and where you want to fall on it; the simplicity <—>complexity spectrum and ditto; ergonomics; residual value a ways out (five years for cameras, 10 for cars, 30 for houses) as a percentage of initial new price (digital cameras suck at that); and mandatory related expenses. As an example of "mandatory related expenses," I'm finding out that my yard here is a fairly big line-tem in my budget. Last year I had to spend $1,400 on a used John Deere; this year a beetle called the emerald ash borer just killed a full-sized ash tree in my back yard, and the lowest estimate I've gotten for removing it is $600. Ask me if I think spending $600 on account of a beetle, even one in a Doc Severinsen suit, is an ideal situation. There are maybe five more trees on my property that could come down if I were actually wealthy enough to live here. :-)
I don't think there's any such thing as a complete list of these things, because we all have different realities, comfort levels, incomes, ideas, locations, tastes, and specific needs and wants. but the point is that in attempting to locate an apex product, you can get pretty subtle about how you determine what it is. For me, a Toyota Corolla with a stick shift (automatics being expensive points of failure) is a better car than a Rolls-Royce or a Ferrari. The Rolls is more luxurious and will impress people much more (although I saw a new Bentley on the streets of my semi-impoverished little town a while back and no pedestrian even looked up as far as I could tell), and the Ferrari is much more exciting to drive, assuming you have access to a race track now and then, but then, consider taking your dogs to the vet in the back seat of the Rolls, or plopping some wet bags of topsoil on the pristine wool carpeting in its trunk. The Ferrari is merely a toy that could land you in jail if you actually play with it. Neither can touch the Corolla at preventing cash from evaporating. The Rolls and the Ferrari are not in the Toyota's league when it comes to that. So what's best? Depends on what you value.
Danish Audiophile Loudspeaker Industries: DALI
How I got started thinking about this is that I was going to draw your attention to a new speaker called a DALI Oberon 3. As you might know I have pretty specific and idiosyncratic tastes in a lot of things, and two-way minimonitors with 7-inch paper (well, paper-ish) woofers (which I like) and soft-dome tweeters (I dislike metal ones, which is partly bigotry and partly not) are a holy grail thing with me. I love 'em. I owned a Swiss speaker called a Revox Studio 3 for years and I got imprinted. And I used to own Rogers LS3/5a's, which are legendary. Audio catnip.
I'd love to hear these DALIs. They tickle the endorphins. They look so tidy and minimalist and basic and simple and clean and pretty, don't they? Designed in Denmark and made in China, so they're well designed and well made but they only cost $800, which is well into the "sensible" range for a pair of minimonitors. (Compare here. Be prepared!)
But then I got to thinking...they're not the apex product.
In fact, no small stand-mounted two-way is. The problem starts with the fact that you have to buy stands, which are needed to hang the drivers in the right place in the air. And the stands have to be well-made because the coupling to the floor affects the vibration of the speakers. Good stands can cost anywhere from $200 to $1,200, but stands are something close to wasted money...necessary, but only because "bookshelf" speakers never sound very good on, well, bookshelves.
And minimonitors don't really have quite enough bass. They demand a small room.
But the biggie is that small speakers are, as a category, less efficient and harder to drive and thus require more amplifier power than bigger ones. Really, to pair with these, you should have an amp with decent grunt, something of good quality rated, I would say, in the 85 to 120 watts-per-channel range. So any money you save on the speakers you're going to lose on the amp.
A lot of people make this mistake. They think small, tidy speakers should go with small, tidy amps, and big honking speakers should go with big brutish amps. It's kind of the other way around, all else being equal. The small speakers need power, whereas bigger ones can be set free with less. Want a pair of Klipschorns big enough to hide dead bodies in? You can drive them with a flea-powered single-ended triode (SET) tube amp with only a handful of watts, like this little 3.5-watt [sic] SA3 amp from Bottlehead.
So the apex product in the DALI Oberon line is probably the more expensive and larger Oberon 7 floorstander. True, they're more expensive at $1,400, still a good bargain by audio standards. They sit right on the floor; no stands needed. They have two woofers rather than one, so they're three decibels down at 36 hertz rather than 47 hertz like the 3's. The sensitivity isn't that different—88.5 dB rather than 87; same drivers, after all. All in all they can probably load a bigger room and I'd say you could stick in the 50-100 wpc range with good quality solid-state amplification. Probably more satisfying in the long run than the little guys.
Besides, if you're going to get minimonitors—and stands—you should go all the way and get Falcon's loving remake of the BBC LS3/5a, the absolute all-time classic great holographic minimonitor, the "original gangsta." Drive them with a tube amp (Mike loves EL34's) that has at least 25 wpc and has 16-ohm taps. Nirvana. Don't have a small enough room of the right shape? Build a room for them. :-)
Rooms!
Speaking of rooms—and efficiency and sufficiency—I seem to be annoyingly attracted to hobbies that need "room-sized accessories," as my friend Nick once called his darkroom. First I needed darkrooms, which caused me to always ask real estate agents to see the basement of a prospective house first, which they always thought was peculiar. Then there's pool—the real luxury of having a pool table is having a place to put it. I can tell you from experience that there aren't a lot of reasonably priced houses in Southeastern Wisconsin that will accommodate a full-sized pool table. I don't have space for one here, alas, and I feel the lack.
Then there's stereo. My brother Scott always thought it was fun to move, because then you get to know your speakers all over again—different rooms make speakers sound different. Most people put a stereo near where they hang out, instead of hanging out where they put the stereo, and that's perfectly sensible, but dedicated audiophiles, who are, as a class, very far from sensible, will sometimes build dedicated listening rooms. In audio, the amp-speaker symbiosis is very important and the speaker-room interaction is just as important.
The best place for the Oberon 7's would be a rectangular room of medium size, say 150 to 400 square feet or thereabouts. Say you have a room that's 15x25', so 375 square feet. I'd start by placing the optical axis (imagine a line running vertically down the middle of each speaker face, touching the front of the drivers) along the short wall 1/5th of the way out into the room—so, 5' into our 25' long room—and 1/5th of the room width from the sidewalls, so, three feet in our 15'-wide room. Then place the listening chair at the other end of the long dimension of the room, also 1/5th into the room, or five feet from the back wall in the 25'-long room. With the Oberon 7's I'd start with no toe-in, meaning, with the speakers facing squarely forward rather than pointed partway toward the listening chair.
That would be a good starting point. Then you could fine-tune the positions of both speakers and listening position based on listening. I should mention that assuming you have a pretty "regular" room, it's worth it to measure as exactly as you can even when first setting up—get the speakers to 1/4th inch of the intended placement if you can.
So, should you buy a pair of Oberon 7's? Well, I never said that! I haven't heard them. I've only read about them. They look interesting to me, but you'd need to hear them for yourself before committing to a purchase, whether you do that by going to a dealer or by buying a pair with a reasonable period of return privilege. Unless they seem just too excruciatingly cheap, however, they, or similar floorstanders for a similar price, seem pretty close to an apex product for me. Not the best, not the worst, just a very well-judged approximation of the optimum bang for the buck.
Mike
P.S. Before we leave the topic of audio for another six or eight or ten months or two years or however long it's going to be, here are three more current audio products I personally think are really cool: the Wharfedale Linton Heritage speakers, a modern update of classic 1970s three-ways, designed by Peter Comeau, a designer whose work I really like; the newest version of the now newly retooled Panasonic direct-drive turntable, the Technics SL-1500C, a semi-automatic (!!!) version of the new rebuild of the classic, which also has a built-in phono section and comes with a cartridge, truly plug and play; and the Benchmark AHB2 power amplifier, which is tiny and light and is mopping up awards and earning lavish praise all over the place. I was going to write about these, too, but I have run out of steam for today.
Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
B&H Photo • Adorama
(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Dave Miller (partial comment): "I enjoy discussions about hifi. I used to be an audiophile until I was cured. This happened when I met hifi design engineer Phil Marshall. Phil worked for Dolby Labs amongst other companies but for many years he designed NAD's amplifier range including the power edge models (1990s?). I met him for the first time after he replied to some questions I asked about articles on his website explaining the importance of the room environment to the audio experience. I ended up working with him as a volunteer for a while, just a naive pair of ears, helping him with listening tests and learning from him. Phil now runs a tiny bespoke loudspeaker company called Marshall Choong Audio. He moved to speaker design because that product still had a lot of room for improvement and a skilled and creative engineer had scope to advance the art.
"Phil taught me a fundamental truth about music reproduction understood by engineers but not so much by customers. The most important component in hifi isn't the amp, speakers, source, cables or even your own ears, but the listening room. Speakers sound different in different rooms—something that a lot of people know. But perhaps what many people don't realise is that the difference a room makes totally dominates any other factor. Nothing you do in your choice of components makes any difference if you have an unsuitable room.
"The magazines would love you to try and fix the problem by buying ever more expensive components but if the room is the issue, it won't help. The key factor is room resonances. A typical room has reflections and standing waves that create massive response boosts at certain frequencies. Phil showed me how to measure room response. A typical small living room in a typical modest UK family home (say a brick-built three bedroom 1930s semi-detached home) has room dimensions that create resonances at around the 50Hz region that can sometimes be greater than +50dB above a flat response. That is a ridiculous problem. Almost all speakers will have bass overhang and undamped resonance that make getting a smooth, accurate sound very difficult. There are few ways to effectively counter this problem (set up your music listening space in a cow field?)...." [For the rest of Dave's comment, please see the Comment Section. —Ed.]
Mike replies: ...Or the near field! This is one reason I like small two-ways so much—near-field listening. My current speakers aren't great shakes by audiophile standards but set up on my desk they're a reasonable approximation of near-field listening and take the room more or less out of it.
Of my two favorite stereos, one was a pair of Celestion SL700's (bought as cosmetic seconds for half price) that I set up in the middle of the barn-like living room of a rental apartment and listened to in a near-field setup. Wonderful. And of course a good way to manage room resonances in the 20–150Hz region is to not have the bottom half of it in the first place. :-) (My "personal standard" for "enough but not too much bass" was –3dB at 42Hz, which I arrived at because that's the response of Thiel 1.5's.)
The other was in the basement room of my house in Woodstock, Illinois, which happened to be almost an ideal room—best room I ever had, anyway. Shoebox-shaped, big but not too big, with a concrete floor and two concrete walls, heating ducts encased in drywall on the ceiling which turned out to be great for disrupting reflections, and a wooden closet that stretched all the way across the back wall that turned out to be great for breaking up standing waves. I placed two floor-to-ceiling bookcases at the strategic points on the sidewalls. It was carpeted wall-to-wall, and I experimented for months with the position of my desk (listening seat) which was at the back of the room, and the speakers, which were given most of the rest of the room. I ended up, entirely by ear, with a very close approximation of George Cardas's room proportions and setup. George's site was where I got that tip about measuring the position exactly—when I did that, I moved the speakers less than two inches, but the focus was improved remarkably. I wouldn't have believed it any other way except experiencing it.
That house also had really crummy AC, so the other revelatory change happened when Paul McGowan (who is a photographer and was reading Photo Techniques at the time, although I don't think he reads TOP) let me be one of the beta testers for his then-upcoming original P300 Power Plant. My prototype didn't have the fancy casework, though—it was built by Cullen Circuits in a Ayre amplifier box. I kept it for years and in fact might still have it.
I've certainly heard of Phil Marshall. Very cool that you got to work for him. I suspect I would like Marshall Choong's "bookshelf" speakers...I once started a website called "The Sealed Box" which was intended to list all the non-vented speakers available! That was not popular.
Peter Wright: "One of my theology professors once remarked that when considering something like the shroud of Turin: Had it ever touched the face of Christ? It made no difference to Christianity either way, so we could choose to adopt what she called a 'hermeneutic of trust,' or a 'hermeneutic of suspicion.' Now, when it comes to audio, I am definitely a 'hermeneutic of suspicion' type of person. (And I speak as an electronic engineer who studied tube and transistor circuit design at university.) I agree that different speakers sound different, but past say $1,000, the differences don't have any effect on how much I enjoy the music. Placement of speakers has a more significant effect, but most of us have live-in partners (used to be called a 'wife' long ago) who don't generally allow the sort of room arrangement you describe. As for amps and CD players, nope, they all sound essentially the same. (Don't get me started on cables!) My strategy for buying audio is therefore to get midrange NAD electronics with B&W bookshelf speakers, and then enjoy the music. That is my apex audio.
"The emerald ash borer destroyed the ash tree in my front yard, and all the other ash trees in town (in Ontario), so I feel your pain. The town management said they had come from China, but now I learn from you that they may have come from upstate New York!! I used to do a lot of wood turning, and frequently removed unwanted trees to feed my hobby. Ash is a good wood for turning, so you may want to see if there are any wood turners in the area who could have the ash for taking it away."
Mike replies: Actually, everything makes a difference—but saying nothing does is a pretty close approximation of the same statement. :-)
And you're absolutely right to place the primacy on "how much I enjoy the music." Listening past the mechanics of the reproduction and hearing the music is the key skill, and stereophilia shouldn't be allowed to overwhelm that. In very much the same way that "seeing" through to what must have been in front of the camera and not getting too distracted in the technical aspects of a photograph is also the key skill that must be cultivated and protected. As we know, it's very easy to lose sight of the forest for peeping at the pixels.
And I hate to break it to you, but mid-range NAD electronics with B&W bookshelf speakers could well be a perfectly nice music-listening system. Not expensive or exclusive maybe, but potentially highly listenable and nothing to scorn. A perfectly fine proposition for being apex products!
