LATEST ADDITIONS

Thomas J. Norton Posted: Aug 06, 2014 Published: Sep 01, 1988 1 comments
666ps46.1.jpgChoosing a moderately priced preamp has traditionally presented the audiophile with a host of serious problems. Most attempt to be all things to all listeners, expending resources on bells and whistles which would have been better expended on basic performance. Few have anything resembling a decent moving-coil stage. But there have always been a few designers (and companies) willing to expend much of their effort at the "low end of the high end." PS Audio has been such a company. Their new 4.6 preamp, an update and cosmetic clone of the earlier, well-received 4.5, is not at the top of their preamp range—that honor belongs to the 5.5—but it is clearly designed to be more than a price-point product.
J. Gordon Holt Posted: Aug 04, 2014 Published: Aug 01, 1984 6 comments
884rotm.ssph.jpgSaint-Saëns: Carnival of the Animals
Ravel: Mother Goose Suite

Pittsburgh Symphony Orchestra, André Previn, cond.
Philips CD 400-016 2 (CD).

The whimsical Carnival, with its nose-thumbing at Saint-Saëns' contemporaries (eg a lugubrious "Can-Can" and a stately cello rendition of Berlioz's Dance of the Sylphs, from The Damnation of Faust), is given a delightful treatment here, and put on one of the best-sounding CDs I've heard to date from a major record company.

Philips has been less up-front about the roots of its CDs than most other record manufacturers, If fact, they have been downright sneaky about it. This release—billed prominently on the CD jacket as a "Digital Recording"—sounds very much as if it was analog-mastered. The is certainly nothing Philips should ashamed of, because this is a better-sounding recording than most digitally mastered ones.

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Robert Baird Posted: Aug 04, 2014 0 comments
Call it the Robert Louis Stevenson Syndrome . . .
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Robert Baird Posted: Aug 02, 2014 3 comments
It’s clearly time for a complete rethink of the musical biopic format.
Robert J. Reina Posted: Jul 31, 2014 4 comments
I've long been impressed by the design, construction, and sound of the tubed electronics produced by Vladimir Lamm, but I'd never had a Lamm Industries product in my house. So I asked for a review sample of Lamm's flagship line-stage preamplifier, the LL1 Signature.
Herb Reichert Posted: Jul 31, 2014 6 comments
Once, on a cold, dank, soundless day deep in the Eastern bloc, I watched a man spend over a million dollars on an audio system: a turntable, a fancy horn tweeter, a few wires, and some amplification for his modified Klipschorns. I asked him what he did for a living, and he told me he was a notary public.
John Marks Posted: Jul 30, 2014 5 comments
The CD-200 is the new CD-only player from TASCAM, the professional-audio division of TEAC (footnote 1). It has unbalanced analog outputs, and RCA and optical digital outputs. The CD-200 also has a new transport, the CD-5020A, designed by TEAC for audio use.

Unlike many affordable disc-spinning devices with slot-loading transports (eg, inexpensive DVD players starting at $29.99), the CD-200 has a traditional drawer mechanism that has been upgraded to minimize the noise of loading and clamping a disc. TASCAM also claims improvements in the internal clock function, for smoother sound and lower jitter.

Art Dudley Posted: Jul 30, 2014 1 comments
Has it really been 30 years since an engineer named William H. Firebaugh unleashed on the audio world his radical and decidedly affordable Well Tempered Arm? (footnote 1) Indeed it has—and today, at 82, Bill Firebaugh seems busier than ever, with so many irons in the fire that he's been forced to give up the noble game of golf—an irony, as you'll see in a moment.
Herb Reichert Posted: Jul 29, 2014 15 comments
Gary Gill of Sousahorn, plus Dave Slagle and Jeffrey Jackson of Emia Audio, combined to demonstrate some of that dissention and diversity in the Sousahorn room. Try to imagine a show so easy-rolling and human-scaled, that the organizer and hour-to-hour manager of the show—Gary Gill—can team up with his buddies and demonstrate one of his own products!
Herb Reichert Posted: Jul 29, 2014 4 comments
The sound Gary Dews was getting from the Border Patrol P21 push-pull 20W 300B amp ($12,750) driving the Living Voice Avatar loudspeakers ($11,850/pair) with Gary's own non-oversampling DAC ($9500) was lively, colorful, and unabashedly refined. When I got to Gary's room my head was spinning. Being a first-time show reporter had me revved up, forgetful and anxious. I felt like Mr. McGoo. The easy flow and gentle melodies in the Border Patrol room allowed me to breathe air, relax, and slip into a dreamy mood of peace and admiration.

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