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A single season in high-end audio can witness the arrival of new brands, the disappearance of old ones, new formats, new retailers – it's a fast-moving world. Imagine all that high-end audio has seen since its 'unofficial' birth around 1970. Absolute Sounds has weathered nearly thirty seasons, closely observing, participating in and eventually influencing the high-end with such insight and efficacy that its stimulus goes beyond the UK. It has become a global force.
Blessed with both enthusiasm and foresight, Ricardo Franassovici has developed a knack for discovering and nurturing the greatest brands the high-end has ever seen. Absolute Sounds From Absolute Sounds' early days with early legends such as Beveridge, Oracle and Apogee, through relationships measured in decades with Audio Research, Krell, Koetsu, Jadis, Copland, Martin Logan, Wilson Audio, Sonus faber, Theta and others, the company has become a by-word for products with peerless sonic qualities.
Two key attributes are responsible for Absolute Sounds' longevity and pre-eminence: Absolute Sounds a total passion for music, and a willingness to evolve. The former speaks for itself: Ricardo's music library is renowned for its scope, and his passion extends even to quoting his favourite musicians in Absolute Sounds' catalogues.
The latter means that Absolute Sounds has also applied its considerable talents to the newer disciplines of custom installation, home theatre and all things digital. It was the first among high-end sources to work with rather than against the juggernaut of Compact Disc, resulting in a catalogue that has featured some of the most musical CD players ever, from Copland, Audio Research, Krell and Theta. Now it is working with high-end displays to the same effect. But over-riding every concern is the quest for the ultimate in audio performance.
Absolute Sounds? Maybe it should have been named, simply, Absolute Pleasure.