LATEST ADDITIONS

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Michael Lavorgna Posted: Mar 04, 2015 13 comments
Hi-fi is serious business—at least, for the people whose business is hi-fi. For listeners, among whom I count myself at least some of the time, I'd say that the serious-business aspect of hi-fi is less so. Our sole job, after all, is to enjoy music. The deeper our enjoyment, the richer our experience—and the richer the experience, the deeper our enjoyment. Therein lies the quest: to deepen our enjoyment of music.
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Art Dudley Posted: Mar 04, 2015 9 comments
I'm old enough to remember Fizzies: tablets that were promised to transform mere water into an effervescent soft drink. They showed up on my radar when I was five, at a time when impatience stood between me and the full Fizzies experience: I couldn't wait for the Bromo-Seltzer–like tablet to dissolve completely, so I was rewarded with little flavor and lots of undissolved sugar shards. At my present age, I would be likelier to drop a Fizzie into a glass of water, walk away, and forget I had ever done so.
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Jason Victor Serinus Posted: Mar 04, 2015 3 comments
Nearly 500 audiophiles descended upon Definitive Audio's Seattle location on Thursday, February 26 for the 10th Music Matters event in the Pacific Northwest. The "mother" of all Music Matters, and inspiration for all the other similarly named events that happen around the country, Definitive Audio's definitive four-hour gathering was so large in scope that it qualified as a mini-audio show. With major industry presenters including Stereophile's Michael Fremer (above) and John Atkinson, the evening also offered sufficient food and drink to satiate the most ravenous, and enough interesting music to ensure that even an inveterate show attender named Serinus never once experienced that "if I hear this cut one more time" feeling.
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Jason Victor Serinus Posted: Mar 01, 2015 7 comments
Within a 24-hour time span this past weekend, two important audiophile establishments in CA suffered major burglaries. On the morning of February 28, headphone manufacturer Audeze in Costa Mesa lost perhaps $250,000 in headphones, plus an undetermined amount of raw material from its operating and manufacture headquarters. At around 4am on February 27, and approximately 425 miles north, retailer AudioVision San Francisco experienced $100,000 worth of damage to their new headquarters plus the loss of much expensive gear when a truck rammed through their storefront (above).
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Robert Baird Posted: Feb 27, 2015 16 comments
John Atkinson Posted: Feb 27, 2015 2 comments
Looking back at our September 2014 issue, I think my review of the Triangle Signature Delta loudspeaker marked something of a watershed in the evolution of my taste in loudspeaker sound quality. For decades I have been a devotee of what might be called "British" sound: low coloration and, overall, a rather polite presentation, coupled with low sensitivity. The Triangle speaker opened my ears to what could be achieved with a very different approach: still-low coloration but high sensitivity, impressive clarity, and a hefty dose of what the late J. Gordon Holt called "jump factor," in which the leading edges of transients are neither smeared nor tamed. So when, last September, on a visit to Dallas and The Sound Organisation, the US distributor of Danish Audiophile Loudspeaker Industries (DALI), I encountered DALI's Rubicon 8 speaker (footnote 1), which had benefited from a low-loss design philosophy similar to the Triangle's, I asked for a pair for review.
Larry Greenhill Posted: Feb 26, 2015 11 comments
Several seconds after I began listening to it, I knew that Theta Digital's Prometheus monoblock amplifier ($12,000/pair) was different from other amplifiers. The violins and brass were more dynamic, and had more pace. The orchestra sounded more three-dimensional, depicted in relief by a degree of hall ambience I hadn't heard when I played the same recording through my reference solid-state stereo amplifier, a Mark Levinson No.334.
J. Gordon Holt Steven W. Watkinson Posted: Feb 26, 2015 Published: May 01, 1985 4 comments
Publisher's Note: For the first time since I've published Stereophile, we are running two completely different—and opposed— reports on the same product. Normally, we try to reach some conclusion as to why reviewers come up with opposite views on a product, and resolve the problem prior to publication. In this case, the problem lies in the differing sound systems used for review. Since some readers will have systems like SWW's, and others will have systems more like JGH's, I felt it was valuable to run both reviews.

For the record, SWW's reference system consists of Dayton Wright XG-lO speakers, BEL 1001 amplifiers, a Klyne preamp, a SOTA Star Sapphire turntable, the Well-Tempered Arm (or Sumiko Arm), and a Talisman S cartridge. The sound on analog disc is far preferable to that from CD, being much more alive and present, and with a tendency to exaggerate sibilants. The low end of the system is awesome, the high end extended, and transients are rendered with a great feeling of immediacy and quickness.

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Stereophile Staff Posted: Feb 25, 2015 164 comments
Register to win a Synergistic Research Acoustic Enhancement Atmosphere (MSRP $2,250.00) we are giving away.

According to the company:

"The Synergistic Research Atmosphere is a room acoustic enhancement device that allows one to modify and improve the perceived soundstage as well as the quality of the sound from top to bottom of one’s system; all of this totally controlled by an iPad/iPhone app."

[This Sweepstakes is now closed.]

Robert Baird Posted: Feb 24, 2015 Published: Mar 01, 2015 4 comments
Estrella Morente: Amar en Paz
Estrella Morente, voice; Niño Josele, guitar
Calle 54/Sony Music 88875011922 (CD). 2014. Fernando Trueba, prod., exec. prod.; Nat Chediak, exec. prod.; Jose Luis Crespo, eng.; Jim Anderson, mix; Alan Silverman, mastering. DDD? TT: 66:29
Performance ****
Sonics ****½

What makes a great singer great is a magical combination of virtuosic physical skills with mental and emotional powers of interpretation that allow you to hear and feel a lyric's subtext: the emotions the songwriter hoped to evoke by a turn in the melody.

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