The ratings given components included in this listing are based entirely on performanceie, accuracy of reproductionand are biased to an extent by our feeling that things added to reproduced sound (eg, jitter, distortion, colorations of various kinds) are of more concern to the musically oriented listener than are things subtracted from the sound (eg, deep bass or extreme treble). On the other hand, components markedly deficient in one or more respects are downrated to the extent that their deficiencies interfere with the full realization of the program material.
The recently-released Audirvana Plus 3 has become the first desktop music player for MacOS to include an integrated MQA Core decoder. To quote the press release, issued jointly by London-based MQA and Paris-based Audirvana, Audirvana's MQA Core decoder "enables the first origami 'unfold' and also authenticates the file using a blue or green light to confirm that the sound is identical to that of the source material."
Do you remember your very first record? I started with the Hollywood Argyles' "Alley Oop" in 1960, and played that silly 45 on repeat until my mother begged me to stop. My tastes quickly evolved, thanks to WWRL AM radio's steady diet of tunes by Jackie Wilson, Bobby Bland, Etta James, and Gary U.S. Bonds. It didn't take me long to gather a sizable collection of singles, but I switched to LPs with Meet the Beatles! in 1964, and since then the craving for new sounds has never let up.
Aside from the overnight sensation (after a career of more than a decade) of Beverly Sills at the New York City Opera as Cleopatra in Julius Caesar, the 19661967 opera "news" in New York was the Metropolitan Opera, newly opened at Lincoln Center. The 10 broadcasts included here feature some singers who still have no equals. In addition to seven starrily cast favorite operas and the premiere of Marvin David Levy's fine Mourning Becomes Electra, there were Samuel Barber's Antony and Cleopatra, composed to inaugurate the new house; the Met premiere of Richard Strauss's 1919 masterpiece, Die Frau ohne Schatten; and the first production in 20 years of Benjamin Britten's Peter Grimes, with the incomparable Jon Vickers essaying the title role for the first time.