LATEST ADDITIONS

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Robert Baird Posted: Jun 19, 2015 4 comments
Being a Scene means that people will come no matter who or what is onstage, just to be a part of the…Scene.
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Robert Baird Posted: Jun 19, 2015 1 comments
His screams, rapid fire delivery, and end-of-line trills in tracks like “Lucille,” “Jenny Jenny” and of course, “Tutti Frutti,” every one recorded with an overloaded microphone, are impassioned in the extreme.
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Fred Kaplan Posted: Jun 19, 2015 1 comments
Ran Blake may be the most unjustly obscure jazz pianist out there, so it's worth noting—shouting, even—that he has three new albums that rank in the top tier of his career: Cocktails at Dusk (Impulse!), The Road Keeps Winding (Red Piano), and Kitano Noir (Sunnyside).
Thomas J. Norton Posted: Jun 18, 2015 Published: Jun 01, 1992 1 comments
By now most readers will be familiar with the relatively new tuned-cavity method of low-frequency loading. Such designs have popped up all over the place of late, especially in those little satellite/woofer systems, but KEF can rightly lay claim to generating the design's theoretical basis, as JA described in his review of the KEF R107/2 loudspeaker in Vol.14 No.5 (May 1991). Essentially, the technique consists of loading the rear of a woofer in a conventional fashion—usually a sealed box—but also loading the front of the driver into another enclosure, ducted to the outside. Basically, the design acts as a bandpass filter with its response centered on the port-tuning frequency. The rolloff is smooth and rapid on either side of this frequency, providing a natural low-pass characteristic but thereby virtually mandating a three-way system. If properly designed, this configuration offers a number of theoretical advantages. The radiating element is actually the air in the port, which is low in mass. Low distortion is possible, as is relatively high sensitivity.
Larry Archibald Posted: Jun 18, 2015 Published: May 01, 1982 3 comments
LAST (Liquid Archival Sound Treatment) is a record treatment developed by one Dr. Catalano, which promises to retard dramatically the wear of vinyl discs. I don't feel that the advent of true digital discs will diminish the importance of LAST; on the contrary, as this century comes to a close many stereo records will be in their 30s and 40s and in need of as much preservation as possible, if the sounds and performances we treasure are to be preserved.
J. Gordon Holt Posted: Jun 16, 2015 Published: Aug 01, 1975 6 comments
The summer of 1975 will be remembered by us, with no fondness whatsoever, as The Time the Roof Fell In. Or the Murphy Months, or the Period of the Plague Upon Our House.

Ye Editor can recall from the days of WWII hearing and reading about the depredations of some mischievous sprites called Gremlins, who would cause aircraft hatchcovers to jam and control cables to get hung up at the worst possible moment, but I don't think I ever really did believe in Gremlins. I think I sensed somehow that the mishaps attributed to their malevolent machinations were too capricious to be the work of thinking, calculating little spirits. But I was not clever enough to put my finger on what was going on. That had to wait for a gentleman named something-or-other Murphy, who was (to my knowledge) the first person to put a tag on it, and to formulate a basic law about it. The tag was "the perversity of inanimate objects," and the law was "If anything can possibly go wrong, it will."

Margaret Graham Posted: Jun 16, 2015 Published: Jun 01, 1982 0 comments
682rotm250.jpgMichael Murray: Encores à la Française Works by Couperin, Dupré, Gigout, Franck, Widor, J.S. Bach, Vierne, Lemmens
Organ at Symphony Hall, Boston
Telarc Digital DG10069 (LP), 80104 (CD, released in 1990). Robert Woods, prod., Elaine Martone, assistant prod., Jack Renner, eng. TT: 65:46 (CD).

This is another winner. Michael Murray's superior performances are or should be well known to all by this time. This recording of Encores in the French style covers a wide gamut of registration and mood, ranging from the large and full-blown sonorities of Franck's Pièce Héroique, the Toccata from Widor's Organ Symphony 5, and Vierne's Final from the Symphony 1 in d to the light and nimble Scherzo of Eugene Gigout and the technically demanding Musette by Marcel Dupré.

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Stereophile Staff Posted: Jun 15, 2015 11 comments
Bel Canto's extraordinary Black amplification system is featured on the cover. Combining state-of-the-art class-D monoblocks with an all-digital preamplifier, the Black sounds and measures as good as it can get. At a price, of course—but at the other end of the price spectrum, we review Creek's Evolution 100A integrated amplifier, as complete in its way as the Black is in its. These are not your father's amplifiers.
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Robert Baird Posted: Jun 12, 2015 1 comments
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Fred Kaplan Posted: Jun 12, 2015 2 comments
Ornette Coleman, the great alto saxophonist and composer, died yesterday at the age of 85. His great jazz quartet of the late 1950s and early '60s—with Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins (sometimes alternating with Ed Blackwell) on drums—revolutionized jazz, shifting it away from chord changes to structures built more around melody, rhythm, and harmonic suggestions not confined by set chord changes. And while some of his followers may have descended into noisy chaos, Ornette himself rarely went that route and, in fact, in the '90s, stepped up to a new level of lyricism, culminating with his 2006 album Sound Grammar, which won that year's Pulitzer Prize for music.

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