LATEST ADDITIONS

John Marks Posted: Jul 20, 2002 0 comments
I don't know who originated the idea of "desert island" recordings. I do know that for many years there was a BBC radio program in the UK that asked celebrities to list their choices. While reading quite a few of those lists, I had the sneaking suspicion that the respondents either hadn't entered fully into the spirit of the task, or were tailoring their choices with a view to what the radio or reading audience would think. (Interior monologue: "I am an anorak-wearing viola da gamba player. Hmmm. Birth of the Cool had better be on my list. London Calling, too, just to be safe.")
John Atkinson Posted: Jul 20, 2002 0 comments
Such is the pace of development in digital technology these days that it is hard not to become convinced that digital playback is a solved problem. The measured performance aberrations are so low in absolute level—and, more important, so low compared with the typical threshold of human hearing—that it is difficult to see why digital components should sound different from one another.
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Jon Iverson Posted: Jul 14, 2002 0 comments
As some readers may suspect, more music is heard in the automobile than in the home. Taking a clue from this trend, many high-end audio companies are finding their way into your car, and factory installed systems are getting better and better. Examples include the Mark Levinson audio system found in cars from Lexus, the debut of Lexicon's L7 surround system in a BMW at the 2002 CES, Linn's partnership with Aston Martin, Harman's partnership with Mercedes Benz, and the Dynaudio/Dolby Surround systems found in several of Volvo's cars.
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Jon Iverson Posted: Jul 14, 2002 0 comments
Historically, radio stations have only partially cooperated with record label attempts to control when and where an important new record is first aired. It's not unusual for a new album or single to be "embargoed" until a specific date by the labels, with stations often competing with each other to find ways to get around this restriction and be first to air a hot new song.
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Stereophile Staff Posted: Jul 14, 2002 0 comments
John Atkinson has found himself swept away by the expensive speakers from Wilson Audio Specialties, so he set forth to put the company's new, modestly-priced Sophia loudspeaker to the test. JA writes, "The Sophia is all new, from its handcrafted enclosure to its custom-built drive-units."
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Barry Willis Posted: Jul 14, 2002 0 comments
A soon-to-be-introduced bill in the US House of Representatives could severely alter the legality of behavior so commonplace that most Americans take it for granted.
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Barry Willis Posted: Jul 14, 2002 0 comments
Love it or loathe it, Internet music is here to stay.
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John Atkinson Posted: Jul 14, 2002 0 comments
I never "got" the spurs with which Jimmie Lee Robinson provided a percussive accompaniment to his singing and guitar playing, but I became a fan of Jimmie Lee's when I saw him perform on two successive nights at Acoustic Sounds' first blues festival in Salina, Kansas in September 1998. His subsequent live appearances at Consumer Electronics Shows and at HI-FI '99, Home Entertainment 2001, and HE2002 on behalf of Acoustic Sounds' associated APO label, were highlights of those events. (I took the accompanying photo at Jimmie Lee's May 31 HE2002 gig in New York with harmonica player Wild Child Butler.)
John Atkinson Posted: Jul 14, 2002 0 comments
Of the small number of times I have been totally swept away by listening to recorded music, a significant proportion have involved loudspeakers from Wilson Audio Specialties. It was my experience of their X-1/Grand SLAMM in the listening rooms of reviewer Martin Colloms, then-retailer Peter McGrath, designer Dan D'Agostino of Krell, and manufacturer Madrigal Audio Labs, that led me to name it my "Editor's Choice" for 1995 and join my vote with those of the Stereophile scribes to make it the magazine's "Loudspeaker of the Year." I wrote in my December 2001 "As We See It" about how a cross-country road trip had begun with a listen to the Cantus CD on the Wilson WAMMs in their designer's Utah listening room. And, as I wrote in my April column, auditioning Peter McGrath's 24-bit Nagra-D master tapes on Wilson MAXXes in the Halcro room was, for me, the highlight of the 2002 CES.

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