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Jon Iverson Posted: Jan 05, 2003 0 comments
In a world where brand is everything and making money is the bottom line, it should come as no surprise that if there's a buck to be made, any deal is possible. But who would have imagined, 30 years ago, that the bad boys and girls of rock'n'roll would be married to the then-much-scorned icon of safe, watered-down elevator music?
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Stereophile Staff Posted: Jan 05, 2003 0 comments
From 1989 and 1992, John Atkinson reviews the Celestion SL600si loudspeaker and the DLP600 digital equalizer. "Given that conventional equalizers are quite correctly regarded in Audioland as being poor-sounding pieces of cheap, amusical junk," JA asks, "what I am doing reviewing what, for want of a better word, is an equalizer?"
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John Atkinson Posted: Jan 05, 2003 0 comments
Surfing the Usenet newsgroups and the Web audio forums recently, it struck me that the old wisdom is correct: If you keep your mouth shut, you won't say anything with which anyone can disagree. A topic that seems to be of perennial interest is how Stereophile chooses the products it reviews. Yet the more I have explained how it's done, the greater the criticism that is heaped on the magazine.
Jon Iverson Posted: Jan 05, 2003 0 comments
STEVE TIBBETTS: A Man About a Horse
Steve Tibbetts, guitar, percussion; Jim Anton, bass; Marc Anderson, Marcus Wise, percussion
ECM 1814 (CD). 2002. Steve Tibbetts, prod., eng. ADD. TT: 45:07
Performance *****
Sonics ****½
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Paul Bolin Posted: Jan 02, 2003 0 comments
If the devil is in the details, then Beelzebub has taken up residence in the collections of cables we use to connect our components. Reviewing the stuff is tough enough, but things are even more difficult for the average audiophile: Inevitably, the wire that sounds fabulous in the store or in your friend's system doesn't work worth a hoot in your own system, and you're left where you began. Equally inevitably, the wire that does work best carries a price more often seen in Tiffany's or Harry Winston. It's enough to drive a hi-fi nut to drink. So relax, pour yourself a nice glass of wine, and sit right back to hear the tale of Robert Lee and his amazing wires...
Chip Stern Posted: Jan 02, 2003 Published: Jan 02, 2000 0 comments
Patricia Barber, vocals, piano, Hammond B-3; John McLean, guitar; Michael Arnopol, bass; Eric Montzka, percussion
Premonition/Blue Note 5 22963 2 (CD). 1999. Barber and Michael Friedman, prods.; Jim Anderson, eng. John Larson and Tom Reinholdt, asst. engs. AAD? TT: 58:11
Performance ****?
Sonics ****?
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Barry Willis Posted: Dec 30, 2002 0 comments
The year 2001 was a bleak one for the music industry. Of the major labels, only Universal Music Group managed to turn a profit.
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Barry Willis Posted: Dec 30, 2002 0 comments
The use of elliptical plastic ports in some loudspeakers has proven expensive for Harman International Industries.
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Stereophile Staff Posted: Dec 30, 2002 0 comments
Writing 30 years ago, in the November, 1971 issue, J. Gordon Holt tried to anticipate the cries of Sellout!? as Stereophile began taking its first ads from dealers. Holt wrote, "Before you throw your hands up in horror . . . bear with us for another couple of paragraphs while we explain why this decision on our part need not prompt you to cancel your subscription immediately."
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Jon Iverson Posted: Dec 30, 2002 0 comments
Imagine this: You're a modern kind of audiophile, and your music library is loaded and sorted (without any compression, of course) onto a hard-disk–based audio system which is networked throughout the house. You've also got a hard-disk–based audio system in your car.


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