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Jason Victor Serinus Posted: Mar 13, 2013 0 comments
Gary Kumpf did a whole lot of talking between selections, but nonetheless I managed to be blown away by the sound of the no-pun-intended McAire ($3000). This one-piece unit, complete with built-in speakers and a downward firing woofer, offered superb stereo imaging as it projected an amazing amount of impressive sound well into the room. Compatible with all existing digital technologies, it seems like a fantastic buy for the price.
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Jason Victor Serinus Posted: Jan 15, 2014 Published: Dec 31, 1969 0 comments
I can never tell what's new in the McIntosh line, because everything retains the company's same classic look. In this case, attention turned to the new MA8000 integrated amplifier ($10,000), introduced at the 2013 CEDIA, that merges the MC302 power amp and C50 preamp ($14,000 total) into a single chassis and, I'm told, sounds "pretty much the same" as the separates.
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Jason Victor Serinus Posted: Mar 08, 2010 4 comments
Michael Lacomba of Southern Cinema, with stores in Cumming, GA and St. Augustine, FL, was having a great time demming several joyful systems that combined tried and true with fresh and new. Almost as fresh and new as Michael, who at age 26 laments, "People my age don't know this stuff exists." Not that Steve Davis and the small and dedicated Axpona crew didn't do everything possible publicity-wise to bring in a fair amount of curious collegiates, some of whom were actually heard to mutter, "I'm going to have to rethink my whole iPod thing after hearing this."
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Jason Victor Serinus Posted: Oct 15, 2013 1 comments
Count on McIntosh to invariably dem something new, albeit in chassis that maintain the company’s distinctive aesthetics. This time around, Ron Cornelius showed the new MCD550 SACD/CD player ($6500) with volume control, headphone output, asynchronous USB 2.0 input, and 32-bit, “192kHz PCM/SD digital to analog conversion”; and MA8000 300Wpc integrated amplifier ($10,000) with MC/MM phono inputs, five digital inputs that decode music up to 32/192, home-theater bypass, and headphone amplifier. In an all-McIntosh set-up, the system delivered the classic warm midrange and solid bottom end I’ve come to expect. Highs, at least in this small hotel room, were a touch metallic, however.
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Jason Victor Serinus Posted: Mar 10, 2010 1 comments
After much too long a hiatus, Stereophile again pierced the digital shield with the return of its “Meet the Editors” panel. Although a poorly publicized schedule shift from Friday to Saturday afternoon diminished attendance in the seminar room, those present asked about everything from Stereophile's influence on the High End and integrity amongst audiophile publications to our favorite rooms at the show. While an objective report is impossible —as far as I know, there are no prices on our heads that we can list—it's fair to say that attendees got a pretty good sense of who we are as both dedicated listener/reviewer/critics and as human beings. Seen in the photo are (left to right): senior editor Michael Fremer, editor John Atkinson, and yours truly.
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Jason Victor Serinus Posted: Jan 11, 2015 3 comments
For the second consecutive year, Hi-Res Audio made a major statement on the main floor of the Venetian Hotel via a large Ballroom exhibit and star-studded panels. I took in "Meet the Hi-Res Music Creators." Moderated by recording engineer Maureen Droney (pictured fourth, going left to right), Senior Executive Director of the Producers & Engineers wing of The Recording Academy (the Grammy people), the panel consisted of four major engineers who record multiple genres in hi-res.
Jason Victor Serinus Posted: Jun 08, 2012 0 comments
An editor’s job isn’t always light and easy, but not every moment during Saturday’s hour-long panel (repeated on Sunday) was. Yours truly, who could only stay long enough to snap a few photos, listened closely as John Atkinson spoke about what he wants and does not want from his equipment reviewers. Pictured, left to right: Dave Clark and David Robinson, Positive Feedback Online; JA and Michael Fremer, Stereophile; Robert Harley, Paul Seydor, and Neil Gader, The Absolute Sound.
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Jason Victor Serinus Posted: Mar 12, 2012 0 comments
At the prompting of John Atkinson, yours truly organized and moderated a non-denominational four person "Meet and Ask the Writers" panel on Saturday afternoon. Joining me, on the left of the photo) were (left–right) A. Colin Flood of Enjoy the Music.com, Ray(mond) Seda of Dagogo.com, and Neil Gader of The Absolute Sound. Because the panel was sandwiched into the seminar schedule last minute, we only had 45 minutes to dialog without mikes over music not exactly wafting through the air walls. (A big thanks to Part Time Audiophile for his selfless photographic assistance and positive energy. Much appreciated by all.)
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Jason Victor Serinus Posted: Mar 10, 2012 0 comments
When I arrived on the second floor the first day of AXPONA, the large open landing that had served as a reception area for exhibitors the night before had been transformed into a mellow entryway to sonic heaven. Paving the way on the keys was John Yurick, who was playing John Lennon's "Imagine" as I snapped his picture. Facing him were May Audio's CD display on the left, and Transcendental Meditation on the right. Note that the TM folks do not simply chant themselves to bliss in mantra land, they are also very connected on a cellular level.
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Jason Victor Serinus Posted: Apr 28, 2013 7 comments
Heads up! Not long after the sellout of both Decca Classics' First Collector's Edition box set of 50 Mercury Living Presence CD reissues, and their box set of six 180gm LP reissues, both drawn from the famed Mercury Living Presence catalog, Collector's Edition 2 arrives on May 14. The CD box's 55 titles include two first-CD issue rarities: Antal Dorati's 1953 Minneapolis Symphony Orchestra mono recording of Stravinsky's groundbreaking ballet, The Rite of Spring, and one of the final Mercury Living Presence recordings, John Corigliano's Concerto for Piano and Orchestra. The Corigliano recording premiere, performed by pianist Hilde Somer and the San Antonio Symphony Orchestra, conducted by Victor Alessandro, is paired with a close to 17-minute interview with Corigliano, conducted by Paul Hume one year after the concerto's 1968 premiere, and the Paregon to Richard Strauss' Sinfonia Domestica, Op.73.

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