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.
Foreword by Sam Tellig: I wanted to like the Sci Fi Teslas. I originally heard these speakers at Dave Wolf's store in New Canaan, Connecticut—no longer in business, alas.
High Fidelity Audio/Video Systems: A Critical Guide for Owners by Howard Ferstler 253 pages, $23.50 softcover. Published by McFarland & Company, Inc., Box 611, Jefferson, NC 28640. Tel: (919) 246-4460.
THE COMPLETE STAX/VOLT SINGLES, 1959-1968 (Footnote 1) 244 songs by Otis Redding, Sam & Dave, Booker T. & the MGs, Carla Thomas, Rufus Thomas, William Bell, Eddie Floyd, The Bar-Kays, The Mar-Keys, and many, many others Atlantic 7-82218-2 (9 CDs only). Reissue producer: Steve Greenberg. AAD. TT: 10:52:07
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).
"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.
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).
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