The Recording Industry Association of America (RIAA) recently released its mid-year report on the state of the music business, and if you’re a fan of disc-shaped receptacles of recorded sound, the news isn’t all bad. In the first half of 2024, physical media brought in an appreciable $994 million for the American music industry, versus $882 million in the first half of 2023 and $840 million in the first half of 2022.
In a recent episode of Audio Unleashed, my cohost Brent Butterworth—friend of the SoundStage! Network and former SoundStage! Solo editor—said something that’s been living rent-free in my head ever since: “Audio reviewers, you and I included, have egos, and . . . as much as you and I try to resist this, we . . . often try to confirm our existing beliefs.” The reason I’m bringing this up is that, unbeknownst to Brent, he uttered those words when I was smack-dab in the middle of writing a review of Totem’s new Loon Monitor standmount loudspeaker ($1299/pair, all prices USD) and struggling with it to a degree. Because the Loon seems to intentionally rebel against a lot of what I look for in a speaker, and I’ve been grappling for weeks with how best to communicate my honest feelings about how this speaker does sound, detached from all the baggage related to my thoughts on how speakers should sound.
Regular readers may recall that I’m a fan of automatic turntables. There are several reasons for my preference; most notable among them is not having to get up every 20 to 30 minutes to lift the tonearm off the record. When I was much younger, the mere mention of an automatic turntable would elicit raised eyebrows from hardcore audio enthusiasts—and maybe even a condescending sneer. Automatics were criticized for the supposed drag the auto mechanism placed on the tonearm.
Read more: Pro-Ject Audio Systems Automat A2 Turntable and Sumiko Oyster Rainier Cartridge
It’s time for a confession. While I still get excited about unboxing any piece of gear that has crossed my threshold for review—I get to play with toys for a living, after all—when it comes to electronics, that excitement normally centers on ergonomics, design, vibes, that sort of thing. With speakers, though, there’s a bit of anxiety involved. Surprises can be either a good or bad thing depending on my mood, and electronics don’t have much in the way of surprises when it comes to performance. Speakers, on the other hand—well, they all sound a bit different, don’t they? Some more different than others.
Read more: Totem Acoustic Loon Monitor Unboxing and First Impressions
I really didn’t plan on writing yet another vinyl-related editorial this month. I promise, I didn’t. But as I said in my recent review of the Record Doctor X record-cleaning machine, I still have a lot to learn about the format, and I’m struggling with finding good sources of information beyond my own compatriots here on the SoundStage! Network, who—despite their knowledge and wisdom—are finite in number and experience and can’t possibly have tried it all. But so far, most advice I’ve gotten from people outside our group has turned out to be quite bad. Live and learn, right?
Recently, my wife asked me what I was working on at the moment, and I froze for a second. I should have answered, “A review of TEAC’s VRDS-701T CD transport” ($2699.99, all prices USD). What actually came out of my mouth was, “That raises an interesting question: Do you, as a normie, have any clue what a CD transport is? As opposed to a CD player?”
Note: measurements taken in the anechoic chamber at Canada's National Research Council can be found through this link.
What could anyone possibly expect from a pair of bookshelf speakers that you can buy on sale for a mere $69.98 per pair (all prices in USD)? “Not much,” you’re probably thinking. After spending time with a pair of Dayton Audio Classic B65 bookshelf speakers, I’d have to disagree.
Oftentimes, one of the most difficult things about editing a publication focused on high-value audio, with a goal of reaching newer hi-fi enthusiasts, is simply guessing how much historical context said readers have.
Read more: TEAC VRDS-701T CD Transport Unboxing and First Impressions
The original headline for this article was going to be a bit more vanilla—something along the lines of “Needs vs. Wants in Hi-Fi.” It was inspired by two conversations: one between me and SoundStage! founder Doug Schneider, another with my buddy Steven Guttenberg, the Audiophiliac, whose YouTube channel boasts an impressive 255,000 subscribers as I write this.
Of all the uncertainties that plagued this total vinyl newb when I finally got around to buying my first proper grown-up turntable, the one I struggled with most was how to deal with the onslaught of old vinyl devotees telling me that if I didn’t follow this, that, or the other rule precisely, I might as well not even bother. Getting a turntable that won’t let me set vertical tracking angle? Absolutely scandalous! And replace that felt platter mat immediately! With cork. No, wait, acrylic. No, wait, rubber. No, wait, leather. No, wait . . . kozo washi! Truth be told, I’m glad I ignored most of the mandates and explored all of these things in my own way and on my own time. But I must admit, I wish I’d listened to the people who told me that there’s simply no substitute for a good wet-cleaning system. It doesn’t necessarily have to be something like the Record Doctor X ($599.95, all prices USD). But it has to be something.
Read more: Record Doctor X Dual-Sided Record Cleaning Machine