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Stereophile Staff Posted: Sep 21, 2003 0 comments
With two new high-rez audio formats on deck, is a CD-only player still relevant? John Atkinson listens to, and then measures, the Classé CDP-10 CD player to discover why it sometimes takes 20 years to perfect a format.
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Stereophile Staff Posted: May 12, 2002 0 comments
John Atkinson heads across America's great plains toward Kansas to engineer a brand-new recording that he and Les Berkley document in A Mosaic of Music: Stereophile's Clarinet Quintet CD. For the new CD, JA returns again to Chad Kassem's audio Mecca, noting that "105 takes of the Mozart and 102 takes of the Brahms later, we had gotten everything down on tape in two days of intense music-making."
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Stereophile Staff Posted: Jan 26, 2004 0 comments
To kick off his three-loudspeaker survey from the January 2004 issue, Art Dudley sets up the Meadowlark Audio Swift loudspeaker in his room and notes, "You look at something like the Meadowlark Swift and you think, How can they sell this for only $1195/pair?"
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Stereophile Staff Posted: Jan 05, 2004 0 comments
As Paul Messenger states in his 2000 review of the Linn Arkiv B phono cartridge, "This Stereophile review is long overdue. Furthermore, this review addresses a complaint often directed against reviews and reviewers: that we rarely spend enough time with a component to gain a properly balanced, long-term perspective."
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Stereophile Staff Posted: Oct 25, 2004 0 comments
From the October 2004 issue, Michael Fremer reviews the mbl 101E Radialstrahler loudspeaker, enthusing, "In one night's listening orgy, I tore through albums by the Weavers, Harry Belafonte, Sweet Honey in the Rock, Tony Bennett, etc—all recorded live in Carnegie Hall. The results were nothing short of astonishing."
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Stereophile Staff Posted: Feb 20, 2000 0 comments
Markus Sauer is in a ponderous audio mood: "When several listeners each play music they like on the system, their reaction should be more uniform. But it isn't. What irks me is that, while we seem to be able to agree pretty well on how a system sounds, there seems to be no consistency of emotional reaction to this sound . . . " Sauer works through this troubling aspect of being an audiophile in "God is in the Nuances." "This journal has seen a number of thoughtful ruminations on what it is that attracts us to music or to a given audio component, and how we should describe that attraction." Now it's Sauer's turn.
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Stereophile Staff Posted: Aug 08, 1999 0 comments
Tonal accuracy vs. soundstage? "Achieving an optimum balance between the two philosophical extremes of recording is where much of the art lies. It also begs the question, of course, of why it's impossible to have both: a recording with a virtual-reality sense of imaging that also captures all the sound without any coloration." While recording the Sonata CD for Stereophile, John Atkinson wrestles with every recording engineer's dilemma. Read about the struggle to capture Robert Silverman performing Liszt's monumental B-Minor Piano Sonata and the ultimate solution in "Fate, I Defy You," added this week to the archives.
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Stereophile Staff Posted: Jul 22, 2001 0 comments
While doing research for his analysis of the Totem Acoustic Forest loudspeaker, Larry Greenhill uncovered a legacy of great reviews for the company's previous products each ending with a final "but . . ." comment. But . . . does Greenhill discover any killer "buts" with the Forest? He explains in detail.
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Stereophile Staff Posted: Jul 23, 2000 0 comments
Sometimes a product can take a while to reach its potential. As Jonathan Scull writes, "First, the Accuphase DP-75V CD player took a full two weeks to warm up and pull its act together. If anything, it was too polite, warm, and over-the-top bloomy when I first lit it up. The '75 requires a long warm-up period. But wait . . . just wait for it." When the wait was over, J-10 filed his observations in detail.
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Stereophile Staff Posted: Aug 13, 2000 0 comments
When a manufacturer makes extraordinary claims about a product, the result is sometimes an extraordinary review. That's what happened when Jonathan Scull examined the Richard Gray's Power Company 400S AC line conditioner last June. His report raised a chorus of reader and industry reactions, all of them included here along with some additional unpublished observations.
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Stereophile Staff Posted: Feb 24, 2002 0 comments
Robert Harley analyzed the $1995 McCormack Power Drive DNA-1 power amplifier back in 1992. His goal? To determine if this product "would be a high-end amplifier for Everyman." Reprint includes Kal Rubinson's Y2K experience with the SMc mods for the DNA-1.
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Stereophile Staff Posted: Jul 09, 2000 0 comments
Kalman Rubinson had tried to get his hands on the Revel Performa F30 loudspeakers back in January 1999, but was thwarted until later in the year, when J-10 decided to send them his way. Kal was clearly excited about these speakers, and explains in detail exactly why.
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Stereophile Staff Posted: Jun 21, 2004 0 comments
In his review of the Velodyne Digital Drive DD-18 powered subwoofer, Larry Greenhill comments, "When I've tested other 'breakthrough' subwoofers, I've been disappointed. All the convenient fine-tuning in the world won't matter if I end up with the same nasty old room modes and woofer bloat." But as LG discovers, the DD-18 is indeed different.
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Stereophile Staff Posted: Apr 12, 2004 0 comments
From the December 2001 issue, Robert Deutsch tries something completely different when he fires up the 47 Laboratory 4706 Gaincard power amplifier. RD notes, "The pursuit of simplicity in the design of solid-state audio electronics is perhaps best exemplified by the products from 47 Laboratory." Less is often more, but with the 4706 Gaincard, is it better?
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Stereophile Staff Posted: Jan 23, 2000 0 comments
Recognizing that high-end audio is anything but plug'n'play, Jonathan Scull examines the details of getting the best from alternating current in "Fines Tunes" #8. As Jonathan writes: "Bill Gates would have you believe we live in a plug'n'play world. Apple has proselytized same since day one. But I'm here to tell you it just isn't so for high-end audio."

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