LATEST ADDITIONS

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Jon Iverson Posted: Sep 05, 1999 0 comments
Want to start an audio newsgroup fire-fight? Just put the three letters "ABX" in the subject line of your post, sit back, and watch the pros take over. Read where it all started 15 years ago in "The Highs & Lows of Double-Blind Testing," which John Atkinson has compiled from the years 1985 and 1986, when an argumentative thread ran through Stereophile's pages discussing the benefits (or lack of) of double-blind testing methods in audio component reviewing—all triggered by J. Gordon Holt's review of the ABX Comparator.
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Barry Willis Posted: Sep 05, 1999 0 comments
Beginning September 21, more than 50 music retailers will offer David Bowie's new album, hours . . ., as a digital download from their websites. Other companies have released promotional singles, but the event will be the first time an entire album has been offered by a record company over the Internet. The Internet release will run about two weeks, leading up to the October 5 debut of the album in stores. Bowie was one of the first major recording artists to venture onto the Internet, with his 1997 single, "Telling Lies."
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Jon Iverson Posted: Sep 05, 1999 0 comments
When Sony introduced the first Super Audio CD (SACD) player, the SCD-1 (see previous report and Jonathan Scull's forthcoming review in the November 1999 Stereophile), audiophiles who heard it were impressed with its performance, but wondered if its $5000 price tag would keep it out of the market for a while. Last week, Sony announced their second SACD player, the SCD-777ES, to appear in October at the slightly more wallet-friendly price of $3500.
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Jon Iverson Posted: Sep 05, 1999 0 comments
The year was 1956, and Elvis had just finshed his set on the December 15 Louisiana Hayride radio show. Elvis was one of a half-dozen acts that were broadcast that night on KWKH, the radio station that originated Hayride. After his encore, Elvis left the stage and the crowd went wild—so wild that they would not stop screaming for more of the soon-to-be king of rock'n'roll. Because several acts on the bill had not yet performed, the show's announcer, Horace Logan, went to the microphone in an attempt to quiet the audience, and ended up making a little music history.
Robert Baird Posted: Sep 05, 1999 0 comments
GEORGE JONES: Cold Hard Truth
Asylum 62368-2 (CD). 1999. Keith Stegall, prod.; John Kelton, eng.; Mark Nevers, Brady Barnett, Steven Crowder, John Stolpe, asst. engs. AAD? TT: 34:16
Performance ****?
Sonics ****?
Larry Greenhill Posted: Sep 05, 1999 0 comments
My father could not resist buying electronic and photographic gear. As soon as he heard about a new Polaroid camera, or a new weather radio, tape recorder, or color television, he'd go shopping. He'd be even more eager to buy an updated version of what he already had, particularly if this meant there was a story to tell. He'd buy one for himself, and sometimes he'd give me and my three brothers one of our own for a birthday or Christmas gift. (I often thought he took more pleasure from giving to us than he did from getting his own.)
Michael Fremer Posted: Sep 04, 1999 0 comments
I've heard my share of Krells, Levinsons, Rowlands, and the like in other people's systems—expensive solid-state amplifiers are not my usual beat. With the exception of an inexpensive Adcom a few years back, for more than a decade I've owned and reviewed only tube amps. In fact, until the $7500 Ayre Acoustics V-1 showed up, I'd not had one in my system. Similarly, I'd had only tube preamps until I reviewed the Ayre K-3, which so impressed me that I asked to hear the more expensive K-1—and ended up buying it.
Kalman Rubinson Posted: Sep 02, 1999 0 comments
"Gotta get my hands on these!"
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Stereophile Staff Posted: Aug 29, 1999 0 comments
Flat frequency reponse in an audio component is good, right? Well, maybe not always, explains J. Gordon Holt in Down With Flat! JGH: "Many times in past years I have been impressed by the incredible flatness of the measured high-end response of some speakers. . . . In every such case, I have been equally amazed at how positively awful those loudspeakers sounded—so tipped-up at the high end that I could not enjoy listening to them."
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Barry Willis Posted: Aug 29, 1999 0 comments
Country music reached the peak of its popularity six years ago, when it claimed 18.7% of the recorded-music audience. Since then, it has steadily declined to its present 14.1%, according to the Recording Industry Association of America's 1998 Consumer Profile. Reasons for the decline include the increasing crossover of country stars into pop and rock styles, a phenomenon that has broadened many artists' reach and made acts like Garth Brooks and Shania Twain household names among folks who may not previously have paid much attention to country. Crossing over, unfortunately, also dilutes the support of traditional music fans. Apart from the twang in the vocals, much current "country" music sounds amazingly like the rock and pop of 10-15 years ago.

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