Music and Recording Features

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Lewis Lipnick Posted: Aug 29, 1987 0 comments
When I decided to write a piece on the subject of concert-hall acoustics, I realized that almost all discussion concerning this topic is based on the viewpoint of the listener in the audience. While this is important (since the primary purpose of any hall is to bring audience and performance together), the criteria that musicians employ in concert-hall evaluation address sonic parameters that are probably not obvious to the casual listener, and may often be at odds with conclusions reached from the other side of the footlights. Some readers might feel that any discussion of concert halls has no place in a publication such as Stereophile; they may have a point, especially if their sole aim through audio is to produce sonic spectacle, rather than to recreate an artistic event. I believe, however, that there are some readers who would like to gain some insights into the specific problems and acoustical considerations presented to performing musicians, and possibly come away with some fresh ideas to incorporate in their listening criteria.
John Atkinson Posted: Mar 21, 1997 0 comments
There has been much argument in audiophile circles about whether an LP or a CD is a more faithful representation of a master tape. Although we recorded Robert Silverman's thrilling performance of the Liszt B-Minor Piano Sonata for CD release, we also had in mind to issue an LP. As the source for both would be the same, the question we can answer is: Will an LP cut straight from a 20-bit master tape via a Class A 20-bit DAC sound closer than a CD noise-shaped to 16 bits from the same 20-bit original?
Fred Kaplan Posted: Oct 01, 2013 1 comments
The world is catching up with Darcy James Argue. Two years ago, he was known mainly for having the strangest name in jazz since Ornette Coleman. Now he's a double winner in Downbeat's 2013 Critics' Poll—the top pick for Best Arranger, and tied with Maria Schneider for Best Big Band Leader.
Wes Phillips Posted: May 06, 2002 0 comments
People are wrong when they say the opera isn't what it used to be. It is what it used to be. That's what's wrong with it.—Noël Coward
Kalman Rubinson Posted: Apr 02, 2006 Published: Jan 02, 2000 0 comments
I had been with Stereophile only six months and feared my tenure was over—I thought I was losing my hearing. There was pain, ringing, and stuffiness. I couldn't listen to anything.
Denis Stevens Posted: Feb 28, 1990 0 comments
The hidden theme of Elgar's Enigma Variations has been sufficiently investigated over the past 90 years to deter all but the most intrepid researcher from tackling the problem yet again. I would not venture to do so unless I were convinced that a well-argued attempt to solve the mystery once and for all had not been unfairly brushed aside, even ignored, a dozen or so years ago.
Robert Baird Posted: May 05, 2000 0 comments
"Here's somebody who just loves to sing." Over the telephone, Peter Guralnick sounds sad, incredulous. "But he's unable at the end of his life to force himself into the recording studio—the fear of completion, fear of exposing your untrammeled idea to execution. What a terrible thing to lose that ability, that faith in yourself."
Robert Baird Posted: Oct 10, 2012 Published: Oct 01, 2012 9 comments
It's the first rule of being a stereophile: sound quality is serious business. Simon Gibson, one of the engineers at Abbey Road Studios who worked on EMI's new Signature Collection of hybrid SACD/CDs, knows the drill: remaster and change the sound of a much-loved classical recording from the label's glorious back catalog and you risk becoming a target of blogs and forums. Gibson's aware that the more hallowed the recording, the more quickly knives come out at the mention of remastering.
Jason Victor Serinus Posted: Aug 25, 2012 3 comments
Photo of the author in Bayreuth: Paul Hyde

For audiophiles, the acoustic of the Bayreuth Festspielhause in Germany, home of the annual festival of Richard Wagner's operas, vies with Amsterdam's Concertgebouw and Vienna's Musikverein as one of the most fabled for recording as well as listening. As a participant in the Music Critics of North America 2012 institute at the Festival, I had the opportunity to not only explore the venue from a near-ideal seat in Row 25 Center, but to also visit the fabled "covered pit" from which many of the greatest Wagner conductors of the last 136 years have led exalted performances.

John Atkinson Igor Kipnis Posted: Jun 08, 1996 0 comments
"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."
—Peter G. Davis, writing in the New York Times about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.
Jason Victor Serinus Posted: Dec 24, 2012 7 comments
Just in time for the New Year, Cookie Marenco of Blue Coast Records has released the first-ever DSD (Direct-Stream-Digital) download of the San Francisco Symphony Orchestra's recording of Mahler's Symphony No.1. Recorded live in Davies Symphony Hall in September 2001, shortly after 9/11, and first released as a hybrid SACD in 2003, the recording is one of the only four Mahler symphonies in SFSO's complete Mahler cycle that were recorded directly to DSD.

The Mahler 1 files, available in four formats, are all derived directly from San Francisco Symphony's master, not from a copy of the SACD. The formats include two DSD formats: DFF and DSF. For those whose computer playback software or DACs are not equipped to play DSD files, 24/96 and 16/44.1 PCM files in WAV format are also available.

Richard Lehnert Posted: Nov 17, 1987 0 comments
Frank Zappa on CD (and LP), Part I
Stereophile Vol.10 No.8, November 1987
Robert Baird Posted: Oct 15, 2015 1 comments
Playing the blues gets old fast. Since this most fundamental American popular music, stopped being the African-American party music of choice, and became a traditional music, celebrated as the precursor of rock'n'roll, blues players face a stark choice: change, or be content with playing small clubs and bars.
Robert Baird Posted: Sep 15, 2011 0 comments
Big bands died out back in the 1950s, right? They went away when the jitterbug faded and folks began dancing to music other than swing? And then real jazz fans departed when the bebop soloists came along and made big-band players look clumsy and quaint?
Robert Baird Posted: Mar 05, 2014 2 comments
As songwriters go, Guy Clark has been touched by the muse more than most. Unfortunately, in recent years he's also been visited by illness and heartache. In June 2012, his wife of 40 years, Susanna Clark, who was both a songwriter ("Easy from Now On") and an artist (the cover of Willie Nelson's Stardust), died in Nashville. In the past several years Clark, 72, has battled lymphoma, had his knees replaced, and undergone an arterial replacement in one leg. He was being treated for skin cancer when I visited his home, south of Nashville, in October 2013.