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Paul Bolin Posted: Nov 30, 2002 0 comments
It's always tough to follow an award-winning act. Wes Phillips raved about the original EgglestonWorks Andra back in October 1997, and it was subsequently dubbed Stereophile's Speaker of the Year for 1997. The Andra won many other plaudits, and found its way into a number of top-shelf recording studios as the monitor of choice. Such a reputation for excellence is the stuff most speaker designers dream of. It also imposes the burden of expectation—the "new and improved" version of such a knockout product had better be good, or else.
Robert J. Reina Posted: Nov 30, 2002 0 comments
I first met NHT co-founder Ken Kantor in 1975 when we were both undergraduates at MIT. Kantor was sponsoring an extracurricular class entitled "Musical Ideas." The concept was to stick a dozen or so musicians in a classroom for free improvisation and hope to create music à la Miles Davis' Bitches Brew. The result was a mess; although talented guitarist Kantor meant well, there was no common vision or consistency of musical talent. Nevertheless, I had a blast trying to simulate a tamboura drone with a Hohner Clavinet, phase shifter, and volume pedal.
Larry Greenhill Posted: Nov 30, 2002 0 comments
I first heard Eugene Gigout's pipe-organ masterpiece, the Grand Chorus in Dialogue, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.
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Jon Iverson Posted: Nov 24, 2002 0 comments
Linn's early decision to develop hard-disk audio systems first got our attention when the Kivor project was announced back at the 2000 Consumer Electronics Show. The Linn Kivor has now spent almost two years on the market, garnering a positive review from John Atkinson and a special "Editor's Choice" mention in this month's 2002 Products of the Year.
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Barry Willis Posted: Nov 24, 2002 0 comments
Disc piracy is a profitable but increasingly risky business, with bootlegging-related shootings and armed robberies on the rise. Modern pirates have begun to imitate their sea-going ancestors, using force to acquire assets and territory.
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Stereophile Staff Posted: Nov 24, 2002 0 comments
From the current issue, Wes Phillips and John Atkinson tell the story of Against the Dying of the Light: the Second Cantus CD. Phillips sets out to find the true genesis of this astonishing new recording from the Minnesota-based male-voice choir, while JA fills in the technical details.
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Stereophile Staff Posted: Nov 24, 2002 0 comments
Cirrus Logic has become the latest chipmaker to license audio watermarking technology from San Diego–based Verance Corporation. Cirrus will integrate Verance copy-prevention and copy-tracking technology in "a new line of high-performance chipsets for DVD devices," according to a November 20 announcement. Cirrus Logic's entry into the DVD-A arena may help boost market acceptance of the DVD-A format, executives conjectured.
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Barry Willis Posted: Nov 24, 2002 0 comments
When do fractions of pennies add up to millions of dollars? Answer: When they are accumulated unpaid royalties for one of the most popular albums of all time.
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Jon Iverson Posted: Nov 24, 2002 0 comments
How much does it cost to license DVD-Audio patents to create players or discs? That information was revealed last week when the DVD6C Licensing Agency, which represents the founders of the DVD Forum (formerly called the DVD Consortium) in the area of patent licensing, announced that it expects to start global licensing of essential patents for DVD-Audio and recordable DVD products on or about January 1, 2003.
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Chip Stern Posted: Nov 24, 2002 0 comments
Over the course of several months, during which time I auditioned the Vacuum Tube Logic TL-5.5 tubed line-stage preamp with a variety of power amps and loudspeakers, I began to reassess many long-held notions about the "characters" of solid-state and tube components. Sometimes the TL-5.5 revealed its musical pedigree with all the midrange juiciness and sublime textural detail that one traditionally associates with a triode front-end, while at others it evinced a level of focus, transparency, and frequency extension I more readily associate with solid-state purity—all in a stylish package featuring a remote volume control and a full range of performance enhancements that belied its affordable price.

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