LATEST ADDITIONS

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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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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
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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Kalman Rubinson Posted: Nov 24, 2002 0 comments
Unpacking and installing a new component is always cause for excitement, even if one does it with almost mechanical regularity, and the anticipation is greater when the component is from a manufacturer of almost mythic reputation. So when John Atkinson asked if I'd like to audition Nagra's new PL-L preamplifier, I feigned calm as I accepted the assignment, even while remembering those years in college radio when I had to schlepp big Ampexes and Maggies. The sexy, portable Nagras were the stuff of dreams. Finally, I thought, I'd get my hands and ears on one.
Michael Fremer Posted: Nov 24, 2002 0 comments
How much fun can you have with an audio component? Fun for me is having a Nakamichi BX-300 analog cassette deck running into Musical Fidelity's evolutionary, revolutionary CD-Pre24 preamplifier, with the unit's digital output feeding the Alesis Masterlink hard-drive-based digital recorder, and being able to monitor the digital loop through the preamp once again in the analog domain.
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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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Barry Willis Posted: Nov 17, 2002 0 comments
US lawmakers have honored their promise to address a languishing small-webcaster royalty bill that was put on hold prior to the fall elections.
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Jon Iverson Posted: Nov 17, 2002 0 comments
At present, the recording industry is based on a variety of analog and PCM digital audio formats, putting proponents of Super Audio Compact Disc (SACD, which is based on the Direct Stream Digital, or DSD, format) in a tough place when it comes to creating pure DSD works for showing off the format. To date, labels have had a limited number of options for creating, mixing, and mastering pure DSD projects.

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