Corey Greenberg

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Corey Greenberg  |  Jun 08, 1995  |  First Published: Jun 08, 1994  |  0 comments
What the hell is going on with headphones these days?!
Corey Greenberg  |  Oct 09, 2005  |  First Published: Jul 09, 1992  |  0 comments
Epiphanies only come when you stop looking for them, and mine came in a room full of preschoolers watching cartoons at a Pizza Hut. I was taking my little nieces Alix (4) and Casey (1) out for dinner, and the last thing on my mind was audio; we wanted to PARTY! So my girlfriend Dara and I bundled them up in their car-seats and we high-tailed it over to the Hut, with visions of continuous-loop Tom'n'Jerry and cheap buffet pizza dancing in our heads.
Corey Greenberg  |  Dec 31, 2008  |  First Published: Jun 01, 1991  |  0 comments
SHIRLEY HORN: You Won't Forget Me
Shirley Horn, voice, piano; Charles Ables, bass; Steve Williams, drums. With: Miles Davis, trumpet; Buck Hill, trumpet; Branford Marsalis, tenor saxophone; Wynton Marsalis, trumpet; Toots Thielemans, harmonica, guitar; Buster Williams, bass; Billy Hart, drums
Verve Digital 847 482-2 (CD only). Richard Seidel, Joel Siegel, prods.; David Baker, eng. DDD. TT: 71:13
Corey Greenberg  |  Feb 16, 2016  |  First Published: Feb 01, 1992  |  5 comments
The $800 JVC XL-Z1050TN 1050 is the Bitstream successor to JVC's popular 18-bit XL-Z1010, which got an enthusiastic thumbs-up from Robert Harley in April 1990 (Vol.13 No.4). Its styling is, in my opinion, much improved over the older player's, with the distinctive brushed-bronze finish of the rest of JVC's XL-Z line. The rear panel sports fixed and variable outputs (footnote 1), as well as Toslink optical and coaxial digital outputs. As with the 1010, the JVC features their proprietary K2 Interface, a circuit that reduces jitter by resampling the pulses with a short-duration gate just ahead of the single-bit JVC JCE-4501 DAC chip.
Corey Greenberg  |  Feb 14, 2020  |  First Published: Jul 01, 1993  |  49 comments
It's always a jolting, life-renewing Ka-BLAM when a new experience shatters your preconceptions of the order of things. From the moment you realize your dad isn't running right alongside you as you fly down the sidewalk on your first two-wheeler, to when you become a made man, these experiences forever alter how you view yourself and the world around you.
Corey Greenberg  |  Jun 01, 2010  |  First Published: Dec 01, 1993  |  0 comments
If you asked me to name a single specific high-end audio component that could make or break a system, I'd name the Linn LP12 turntable. Of all the thousands of hi-fi products I've heard over the years, not a one of 'em—not a speaker, amplifier, or digital processor—has been able to draw me into the music, no matter what the associated componentry, like the LP12. I've heard the most highly regarded speakers/amps/processors fall flat in certain situations due to a lack of synergy with their surrounding systems, but I've never heard an LP12-based system that didn't put a smile on my face and make me green with envy.
Corey Greenberg  |  Mar 17, 2014  |  First Published: Jun 01, 1991  |  8 comments
Today is the 60th anniversary of the iconic Fender Stratocaster electric guitar, the instrument that in the hands of Buddy Holly, Jimi Hendrix, Eric Clapton, Stevie Ray Vaughan, Mark Knopfler, Buddy Guy, Hank B. Marvin, and many other virtuosi, shaped and guided rock music ever since. To celebrate the day, we are reprinting the tribute by Corey Greenberg, himself a Strat player, to the guitar's inventor, the late Leo Fender, that was published in our June 1991 issue.—Ed.
Corey Greenberg  |  Oct 07, 1995  |  First Published: Oct 07, 1992  |  0 comments
"I remember Momma!"
Robert Harley, Corey Greenberg, Larry Greenhill, Thomas J. Norton  |  Nov 02, 2011  |  First Published: Jul 01, 1991  |  0 comments
I should begin this review by confessing that I've never been a fan of subwoofers. Most subwoofer systems I've heard have been plagued by a familiar litany of sonic horrors: poor integration between subwoofer and main speakers, boom, bloat, tubbiness, slowness, excessive LF output, and an overall presentation that constantly reminds the listener he is hearing a big cone moving. To me, subwoofers often sound detached from the music, providing an accompanying thump that bears little relationship to the sound from the main speakers. Rather than revealing the music's harmonic underpinnings, subwoofers often obscure them in a thick morass of featureless boom. In addition, adding a subwoofer often destroys the qualities of the main speakers that made you buy them in the first place—just to name a few of my observations (footnote 1).

Other than that, I like subwoofers.

Corey Greenberg  |  Apr 08, 2007  |  First Published: Apr 08, 1991  |  0 comments
"I've know I've seen this amp before," I thought to myself when I lifted the $1200 Muse Model One Hundred out of the box, and I wasn't thinking of Robert Harley's review of the identical-looking Muse Model One Hundred Fifty reviewed in January 1990, either. No, I'd seen this amp before, somewhere else, in some other magazine, but with a different manufacturer's name.

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