With the emergence of dematerialised music and Class D amplification, the imperative to build equipment to the archaic 19” rack-mount standard is finally being abandoned. Even high-end products are starting to occupy smaller and smaller footprints, while it is now possible to achieve astonishing performance from what might have once been considered miniature units. The Wattson Audio products are one example, with the Madison DAC/controller barely bigger than a stack of CDs and delivering a state-of-the-art streaming interface, digital source switching, a surprisingly sophisticated DAC, LEEDH volume control, a half decent headphone output and a Control App for €3,390. Add in upgraded components and a better power supply and you get the Madison LE at €4,890. Too steep? The Emerson Analog takes the same streaming interface and a simplified DAC/volume control and builds them into a tiny, milled from solid casework costing around €1,500.
But even the Emerson looks expensive compared to the popular WiiM Amp. This little box, a shade over 7” on a side and 2.5” tall manages to pack in a full streaming, DAC and amp package. It offers network, USB and TosLink S/PDIF connectivity, an HDMI input, an analogue input and a 60Watt/8Ω output. It is manually, remote or app controllable and includes Wi-Fi, Airplay, Chromecast, Bluetooth and Alexa voice control. It works with all major network music and radio providers. Its one-piece chassis even looks cute. Yet, despite all those facilities and all that functionality the WiiM AMP will set you back a mere €369. Yes, you read that right: €369!
The WiiM products (the amp is just one example: the company manufactures a whole host of streaming related products) are designed in California and manufactured in China. They use a direct sales model with a single sales outlet in each market – for example, Amazon in the US – that minimizes the number of margins and keeps the customer price down. All of which makes this very much a case of the new normal. About the only trick the WiiM Amp misses is a headphone socket. Otherwise, its myriad functions, diminutive dimensions and Apple-esque aesthetic locate it firmly in the world of those who have grown up permanently attached to their phones.
What has all this got to do with the AvantGarde Colibri? Well, although it might not seem like it, both are products of the same reality. The difference is that, despite many manufacturers’ best efforts, loudspeakers depend on the laws of physics and as inconvenient as it might be, you can neither bend nor ignore them. Miniature electronics are a piece of cake compared to trying to miniaturise loudspeakers. There are certain irreducible relationships that govern a speaker’s performance: size, sensitivity and bandwidth are inextricably linked: alter one and it affects the others. Make a speaker really small and you end up with a box that barely raises a croak and with less bass than a pocket radio – which ain’t gonna cut it with the crowd who are used to listening on headphones and in dance clubs. Those listeners are used to serious levels and an almost physical experience. If you want to wean them off of headphones, you’ll need to offer loudspeakers that in turn offer something the cans can’t. That means dynamic range, smack you in the face immediacy and the ability to go really, really loud – not all the time but when required.
