LATEST ADDITIONS

Robert Baird Posted: Nov 10, 1996 0 comments
MILES DAVIS & GIL EVANS: The Complete Columbia Studio Recordings
Gil Evans (arranger/conductor); Miles Davis, Ernie Royal, Johnny Coles (trumpet); Cannonball Adderley, Lee Konitz, (alto sax); Gunther Schuller (french horn); Paul Chambers (bass); Philly Joe Jones (drums); many others.
Columbia 67397 (6-CD set) Michael Cuscuna, exec. prod.; Phil Schaap, Mark Wilde, Bob Belden, reissue producers; additional engineering, Tom Ruff. TT: 6:56:39.
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Sam Tellig Various Posted: Nov 06, 1996 0 comments
"Musical Fidelity X-10D" it said on the box. No, this is not bathtub mildew remover or laundry detergent. Actually, it's hard to figure out exactly what it is. The box is little help. Musical Fidelity calls the X-10D "the missing link," a "pure Class A CD-player accessory."
John Atkinson Posted: Nov 01, 1996 Published: Nov 01, 1986 0 comments
"I am not in love; but I'm open to persuasion," sings Joan Armatrading in her song "Love and Affection," the track I was playing when I finally realized that my attempts to get a sound from the Apogee Caliper ribbon speakers approaching what I had heard at the 1986 Chicago CES were bearing fruit. And that sentence pretty much describes the creed of the professional audio critic. Each new product that arrives at your door could be the one to pass the J. Gordon Holt "goose-bump" test, to leave the hairs on your arms permanently erect. Did the Caliper full-range ribbons excite my previously quiescent nerve-endings? Did Bobby Ewing return from the dead? Did Sam propose to Diane? Will Alan Alda ever outgrow Hawkeye? What on Earth made Georgette marry Ted Baxter? Why can't Tubbs roll up his jacket sleeves like Crockett? How could a fine actor like Jack Klugman accept such a dreadful role? Some of these questions will be answered overleaf, but in the meantime, what is a ribbon speaker?
John Atkinson Posted: Oct 26, 1996 0 comments
If there is a component category that causes the "objectivists" in the audio community to splutter uncontrollably over their cups of herbal tea, it is the high-end CD transport. For in their "bits is bits" world, all a transport is required to do is recover the digital data from a disc—much like a grown-up cousin of your computer's $25 floppy-disk drive. The thought of paying up to $10,000 for something so humble—and, in their eyes, unnecessary—typifies what these blinkered folks regard as the insanity of the High End.
Michael Ullman Posted: Oct 24, 1996 0 comments
PAQUITO D'RIVERA: Portraits of Cuba
Paquito D'Rivera, alto & soprano sax, clarinet; Lew Soloff, Bob Millikan, Diego Urcola, Gustavo Bergalli, trumpet, flugelhorn; Lawrence Feldman, alto sax, flute; Thomas Christensen, tenor sax, flute; Andres Boiarsky, tenor sax, clarinet, flute; Roger Rosenberg, baritone sax, bass clarinet, bassoon; John Clark, French horn; James Pugh, trombone; David Taylor, bass trombone; Allison Franzetti, Dario Eskenazi, Carlos Franzetti, piano; David Finck, bass; Mark Walker, drums; Pernell Saturnino, percussion; Carlos Franzetti, arr., conductor
Chesky JD145 (CD only). David Chesky, prod.; Bob Katz, eng. DDD. TT: 60:36
Beth Jacques Posted: Sep 30, 1996 0 comments
PATTI SMITH: Gone Again
Arista 07822-18747-2 (CD only). Malcolm Burn, prod., eng.; Lenny Kaye, prod.; Brian Sperber, eng.; Greg Calbi, mastering. TT: 55:58
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George Reisch Posted: Sep 28, 1996 0 comments
Back in 1968, nothing sounded better to me than "Penny Lane"—one of my all-time favorite songs—blasting out over my Dad's home-built Eico gear (when no one else was around, of course). For some reason, the various sounds packed into that song grabbed my attention as much as that old integrated amp whose steel case got as hot as the tubes inside—ouch! When the Beatles broke up, I played Magical Mystery Tour over and over for days before I felt I'd paid them sufficient homage. Like everyone else, I heard a lot of the Beatles through the '70s and '80s. (And now, of course, it may as well be the '60s again: if you can stomach another "Magic Carpet Ride" every hour (or so it seems), just tune in your local "classic rock" station and you'll hear lots of "Penny Lane," too.)
John Atkinson Anthony H. Cordesman Posted: Sep 07, 1996 Published: Sep 07, 1986 0 comments
Whenever I think of cone speaker systems, I think of three brand names: Snell, Thiel, and Vandersteen. There are many good loudspeakers and many good designers and manufacturers, but it is these three who, in my opinion, consistently produce the best cone loudspeaker systems. All three companies produce full-range systems, transparent systems, and systems which mate well with a wide range of equipment. Their systems can be owned and enjoyed for years. Long after some fad or special feature has given a competing designer brief notoriety, these are the products you turn back to for music.
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John Atkinson Posted: Aug 24, 1996 0 comments
One of the characteristic traits, I have found, that defines the loudspeaker designer is that they are loners—they seem to avoid one another's company as if on purpose. But if ever you sit down with a designer, all you need to do to open him up is to ask him what he feels to be important in loudspeaker performance.
Wes Phillips Posted: Aug 16, 1996 0 comments
"Why no review of the Ayre V-3?" queried Stephen Slaughter in July's "Letters" column, echoing several urgent posts to my e-mail address. Word of mouth on this remarkable 100Wpc amplifier was reaching fever pitch. Show reports over the last several years had sounded a consistent note—rooms that demoed with V-3s kept getting mentioned in "Best of Show" overviews. Naturally, this also meant that the pendulum had started its backward swing. "It's not really as good as people are saying," one WCES attendee confided in me. "That's why they won't give it to critics."

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