LATEST ADDITIONS

Sam Tellig Posted: Jun 04, 1997 0 comments
At last—a CD player from a company that doesn't like CD.
John Atkinson Wes Phillips Posted: Jun 03, 1997 0 comments
A science-fiction parable I read too many years ago to remember who wrote it used the image of a glass jar stuffed with colored plastic spheres. The story's protagonist was asked whether the glass was full. "Of course," was his reply, whereupon a hidden faucet was turned, the jar filled up with water, and fish swam in the spaces between the balls.
J. Gordon Holt Posted: May 29, 1997 Published: May 29, 1988 0 comments
During the late 1950s, when high fidelity exploded into a multimillion-dollar industry, product advertisements bragged about bringing the orchestra into your living room. Apparently, no one realized what an absurd concept it was, but there are still many people today who believe that's what audio is all about. It isn't. There is no way a real orchestra could fit into the average living room, and if it could, we would not want to be around when it played. Sound levels of 115dB are just too loud for most sane people, and that's what a full orchestral fortissimo can produce in a small room.
David Patrick Stearns Posted: May 22, 1997 0 comments
BEETHOVEN: The String Quartets
Emerson String Quartet
Eugene Drucker, 1st violin, Philip Setzer, 1st violin, Lawrence Dutton, viola, David Finckel, cello.
DG, 447 075-2. (7 CDs). 1997. Alison Ames and Roger Wright, exec. prods; Max Wilcox, prod.; Nelson Wong, eng. DDD. TT: 8:18:02.
Music: *****
Sonics: *****
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John Atkinson Posted: May 12, 1997 Published: May 12, 1994 0 comments
In last month's "As We See It," I examined how I decide upon ratings in Stereophile's biannual "Recommended Components" listing. This leads me to talk about who writes our equipment reports. Stereophile currently has a team of 16 active reviewers. The core are professional: J. Gordon Holt, Robert Harley, Thomas J. Norton, Corey Greenberg, and Martin Colloms. The others—Sam Tellig, Jack English, Robert Deutsch, Don Scott, Jonathan Scull, Larry Greenhill, Dick Olsher, Guy Lemcoe, Lewis Lipnick, and Steven Stone—may be enthusiastic amateurs, but they are amateurs only in the sense that they don't earn their livings from writing. I'm the team's catcher, both calling the game and keeping the stray balls from getting away. Why, then, is it this cast of characters (footnote 1) who gets to cast judgments in stone in my magazine?
Wes Phillips Posted: May 12, 1997 0 comments
"Wow! What's that?" asked the pizza delivery boy, peering over my shoulder at the slender, 5'-tall Martin-Logan SL3 visible behind me.
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John Atkinson Posted: May 09, 1997 Published: May 09, 1996 0 comments
"Everyone I know used to sit in front of the stereo and listen to music...Now no one I know, except for us lunatics, listens to music the way one would watch a movie on TV."—from The Audiophile Network
Muse Kastanovich Posted: Apr 29, 1997 0 comments
Everyone's going crazy for single-ended power amplifiers. What's the big deal? What is it about these relatively low-powered contraptions that could make everybody so nutso? And has Pass Labs' Nelson Pass completely lost his marbles, selling a 30Wpc amplifier for a price that can buy a high-quality 200Wpc amp? Isn't that 200W amp seven times as loud—and seven times as good—as a 30W amp?
Robert Baird Posted: Apr 29, 1997 0 comments
SON VOLT: Straightaway
Warner Bros. 46518-2 (CD). 1997. Brian Paulson, Son Volt, prods. TT: 40:27
Music: *****
Sonics: *****
Robert Harley Posted: Apr 25, 1997 0 comments
One of the fundamental tenets of high-end audio is that a loudspeaker's bass output should be appropriate for the listening room's size. The smaller the room, the less bass the loudspeakers should produce. Any manufacturer of large loudspeakers who has set up such a system in a CES hotel room can attest to how difficult it is to avoid boominess in a tiny space.

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