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Sasha Matson Posted: Oct 03, 2015 2 comments
One mile high—and when you touch down? The huge and energetic 2015 Rocky Mountain International Audio Fest, or RMAF, based at the Denver Marriott Tech Center. Spread out over several areas of floors in the towers, as well as an extended lobby area with its own mezzanine sections—ithe show takes a bit of initial navigating. This is the first RMAF I have had the pleasure to attend, and seems to have great and varied participation—from both the exhibitor side as well as attendees.
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Stereophile Staff Posted: Oct 02, 2015 49 comments
Register to win a pair of Morrow Audio High-end Speaker Cables with SSI Technology (MSRP $139.00) we are giving away.

According to the company:

"Standard version shown in the photo. Bi-wired & Bi-amped versions also available on the Morrow website. The SP3 (shown) consists of 24 runs of solid core, small gauge and individually insulated, silver coated copper wire (renowned SSI Technology) which is then silver soldered to the termination of choice. Silver coated copper wire was chosen for the excellent balance of sound that it provides. "

All you have to do to enter is leave a comment on this post. Click on the picture above for details on how to enter.

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Stereophile Staff Posted: Oct 02, 2015 2 comments
Photos: Laura LoVecchio

Standing in front of the poster for the November issue of Stereophile, new at the show, is Michael Mandell, who used to provide IT services for the magazine when it was first based in Santa Fe, New Mexico. Michael is wearing a vintage T-shirt with the "Lonely at the Top" illustration we created for our April 1988 "Recommended Components" issue.

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Herb Reichert Posted: Oct 02, 2015 0 comments
The beginning of every audio show is charged with a grinning ear-to-ear sense of audio-industry renewal, but the Rocky Mountain Audio Fest, which started today at Denver's Tech Center Marriott, always takes that hopeful charge to its highest level.
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Fred Kaplan Posted: Oct 02, 2015 1 comments
Thursday night, I took the F train to Manhattan's Blue Note, the 8pm set, to see Trio 3—the longstanding improv band, consisting of Oliver Lake on alto sax, Reggie Workman on bass, and Andrew Cyrille on drums—joined by Jason Moran on piano . . . Moran, the most inventive pianist on the scene today, can play anything with anybody.
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Robert Baird Posted: Oct 02, 2015 0 comments
A lesser known but no less active music town is Northampton, Massachusetts.
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Art Dudley Posted: Sep 30, 2015 1 comments
To paraphrase the playwright Alan Bennett: When I started Listener magazine, my idea was to create a small, anarchist journal. But people wouldn't obey the rules.

In 2003, when I began writing for Stereophile, I felt very much at home. John Atkinson had one set of rules (footnote 1) to ring us in, us being the codependent communities of audio reviewers and audio manufacturers. Martinet that I am, I layered atop those policies a few rules of my own, to govern interactions with members of the industry. More recently, I began to observe an additional practice—I wouldn't quite call it a policy—meant to prevent mismatches, missteps, misunderstandings, and hard feelings all around: When someone offers me a product of a sort for which I have a consistent and automatic dislike, I tell them so. I say, politely, that I'm disinclined to borrow and write about the thing, because I suspect it will mesh with neither my system nor my tastes.

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Art Dudley Posted: Sep 30, 2015 8 comments
"The way that young people will get into high-end audio is not through streaming: It's through the LP."

When that observation was offered during a recent phone conversation, I wrote it down word for word—not just because I agree with it, but because it was so remarkable: The audio-industry veteran who offered it owns a digital front end worth tens of thousands of dollars, and hasn't owned a turntable for at least a dozen years. Nevertheless, as became clear during the remainder of our conversation, he understands the dynamic that keeps vinyl at the top: a confluence of marketing psychology and genuine sonic goodness.

Michael Fremer Posted: Sep 29, 2015 0 comments
Class-A amplifiers have a well-deserved reputation for being power guzzlers that run hot enough to burn fingers. They're inherently inefficient because their output devices conduct full current at all times, and much of that current is dissipated as heat—requiring, in the case of class-A solid-state amplifiers, massive heatsinks. This is why class-A amps tend to produce relatively low power, and tend to be heavy and expensive to buy and run. And these days, energy inefficiency is out of fashion.
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John Atkinson Posted: Sep 29, 2015 3 comments
Perhaps because I grew up in post-WWII England, with austerity and food rationing the norm, I learned at an early age the value of frugality. It was a financial stretch for me to buy, in the late 1960s, my first real audio system: Garrard SP25 turntable with Audio-Technica cartridge, Kenwood integrated amplifier, Wharfedale Super Linton speakers. Even when I could afford to upgrade the system, other than replacing the Garrard with a Thorens TD 150 and the Audio-Technica with a Shure, I went the DIY route. Back then, in the early '70s, I assumed that the advent of op-amp chips like the Fairchild Semiconductor µA741 would make it possible for me to design and make, for example, a good-sounding preamplifier for a lot less than it cost to buy one from an established manufacturer. That assumption turned out to be wrong, of course, but frugality was, by then, a habit: too ingrained for me to shake entirely.


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