The M97xE is the last great workhorse cartridge — and you've been sleeping on it.

The A77 sounds like a Swiss bank vault — impenetrable, precise, and completely indifferent to your budget.

The reel-to-reel Technics nobody talks about is the one you should actually buy.

The DP-75M is what happens when Denon decides a turntable deserves the same obsessive engineering as a broadcast console.

The ESL-63 doesn't flatter your records. It tells you exactly what happened in that studio, and you'll love it anyway.

The AR-3a gets all the press, but the C37 Monitor was there first — and it argues back.

The AR-3a doesn't flatter your records — it tells you exactly what's on them, and that's the point.

The LP12 has been in continuous production since 1973, and Linn still hasn't admitted it's finished.

The preamp that defined what high fidelity actually meant—and still hasn't been surpassed by much.

The T-109 didn't just receive radio signals — it dismantled them and rebuilt them from scratch.

The TU-9900 is what happens when engineers still believed FM radio was worth fighting for.

The SL-1500 deserves a real amp — and Technics already built the perfect one in 1973.

The SL-1200 gets all the glory, but the SL-1500 was already there first, spinning just as true.

Yamaha built the RX-V2700 to out-cinema Denon, and in 2007, it mostly did.

The AVR-5000 is the receiver that proves you shouldn't have to choose between Dolby Digital and your record collection.

Krell built a 400xi to prove integrated amps weren't compromises—and embarrassed a lot of separates in the process.

The machine that made the records you love — and it's sitting in someone's garage waiting for you.

The TC-800GL proves that Yamaha was building studio-grade cassette decks while everyone else was building furniture.

The AU-717 was the argument. The AU-11000A is what happens when Sansui decides to win it.

The turntable that refused to be wrong — and after fifty years, it still hasn't been.