Sort By: Post Date | Title | Publish Date
Filed under
John Atkinson Posted: Jan 17, 2015 0 comments
Going into the Audio Arts room at CES was like going through a time portal into the 1986 CES, as Flim and the BB's classic album Tricycle was playing. The system was based on the top-line Zellaton speakers ($79,750/pair) driven by Swiss CH amplification connected with Schnerzinger cables. According to the meters on the Precision M1 monoblocks ($94,750/pair), while the average level was 4–5W, the peaks on the drums reached 360W and more! Yet the sound remained clean and uncompressed. An impressive if expensive sound.
Filed under
John Atkinson Posted: May 26, 1995 Published: Aug 06, 1986 0 comments
From London, England, to Santa Fe, New Mexico, is a pretty big jump, both geographically and culturally. From Hi-Fi News & Record Review to Stereophile, however, is a mere hop; the similarities overwhelm the differences. Unlike the US, mainstream magazines in the UK have managed to keep in touch with the fact that hi-fi components sound different; to edit and to write for an ostensibly "underground" American magazine presented no major philosophical problems. (I say "to edit," but as mentioned in "The Big Announcement," Vol.9 No.3, my editing is done in harness with Stereophile's founder and guiding light, J. Gordon Holt.)
Filed under
John Atkinson Posted: Jan 13, 2009 6 comments
The speakers from Colorado-based Avalon Acoustics have either featured conventional, rectangular boxes (in the less-expensive NP series, like the Evolution 2.0 I reviewed last July) or the unique, multifaceted enclosures that I first saw in 1990's Eclipse, which are used in the cost-no-object designs like the Indra.
John Atkinson Posted: Jul 25, 2013 Published: Aug 01, 2013 18 comments
Apple's iPod came of age in the fall of 2003, when, with the release of iTunes 4.5, the player was no longer restricted to lossy compressed MP3 or AAC files. Instead, it could play uncompressed or losslessly compressed files with true "CD quality"; users no longer had to compromise sound quality to benefit from the iPod's convenience.

Enter Astell&Kern. At the beginning of 2013, this brand from iRiver, a Korean portable media company, introduced its AK100, a portable player costing a dollar short of $700 and capable of handling 24-bit files with sample rates of up to 192kHz.

John Atkinson Posted: Mar 07, 2014 1 comments
Back in the summer of 2009, USB-connected D/A processors that could operate at sample rates greater than 48kHz were rare. Ayre Acoustics had just released its groundbreaking QB-9, one of the first DACs to use Gordon Rankin's Streamlength code for Texas Instruments' TAS1020 USB 1.1 receiver chip. Streamlength allowed the chip to operate in the sonically beneficial asynchronous mode, where the PC sourcing the audio data is slaved to the DAC. But high-performance, USB-connected DACs like the Ayre were also relatively expensive back then, so in the January 2010 issue of Stereophile I reviewed a pair of soundcards from major computer manufacturer ASUS , the Xonar Essence ST and STX, which, at $200, offered a much more cost-effective means of playing hi-rez files on a PC.
John Atkinson Posted: Jan 24, 2010 6 comments
With all the current fuss about getting audio data from a computer to a standalone D/A processor via S/PDIF, USB, FireWire, WiFi, or Ethernet (footnote 1), it has been overlooked that the oldest way to get audio from a PC is to use a high-performance soundcard plugged into the host machine's motherboard. I remember how excited I was when I installed a Sound Blaster Pro 16 board in the 486-based Dell running Windows 3.1 that I was using in the early Clinton era, plugged its analog output into my high-end rig, and played back 16-bit/44.1kHz files.
Filed under
John Atkinson Posted: Jan 15, 2014 0 comments
Jon Iverson already reported on the Antelope DAC, but as I have just favorably reviewed their SCM 7 v.3 minimonitor for the forthcoming April issue of Stereophile, I was more interested in the active ATC SCM100SL Towers in the room. This speaker combines ATC's proprietary soft-dome midrange driver with a 1" tweeter and 12" woofer, tri-amped by ATC's Anniversary amplification. With a laptop running JRiver Media Center feeding data to the Antelope Zodiac-Platinum DAC with its Voltikus power supply, the 24/96 transfer of Steely Dan's "Babylon Sisters" was reproduced with tight, well-controlled low frequencies.
Filed under
John Atkinson Posted: Jan 14, 2010 2 comments
"So what you think our new AT1 loudspeaker will cost?" Atlantic Technology's Peter Tribeman had just finished his dem of a fairly small two-way tower that, driven by Parasound Halo JC 2 preamplifier and Halo A21 power amplifier, was producing prodigious amounts of low frequencies in a fairly large room.
Jason Victor Serinus John Atkinson Posted: May 12, 2011 0 comments
How am I to convince music lovers that this CD is markedly different from Attention Screen's first two live CDs?

The question kept running through my head as I marveled at the breadth and maturity of Attention Screen's remarkable improvisations during a pre-concert sound check in the Piano Salon of Yamaha Artist Services, Inc. (YASI), at 689 Fifth Avenue, in the heart of Manhattan.

Attention Screen impressed even more at the public concert the following night, April 24, 2010. As the band members engaged in one improvisational miracle after another, fearlessly exploring new territory, the beauty and inventiveness of their playing astounded me.

Filed under
John Atkinson Posted: May 11, 2007 0 comments
Free jazz quartet Attention Screen, which I recorded live at Manhattan's Merkin Hall in February, are performing a 60-minute set Saturday May 12 at 12:30pm, to celebrate the release at HE2007 of the resultant CD.


Enter your username.
Enter the password that accompanies your username.