Jason Victor Serinus

Jason Victor Serinus  |  Apr 13, 2019  |  1 comments
Vandersteen lovers, of which there are many, may stare in disbelief at these words, but AXPONA 2019 marks the first time that I truly got why so many people rave about Vandersteen's sound. At least I think I did. Even if I didn't fully get what other people get, I got enough to say, "Oh yeah, uh huh, that Vandersteen midrange is surely something worth writing home about." In fact, based on what I heard, I see why some people would prefer to cart up the whole thing and let it do the speaking.
Jason Victor Serinus  |  Apr 12, 2019  |  5 comments
Spying the Scaena (pronounced Sane-a) room, I was happy to hear their fabulous sounding speakers once again. This time it was the Scaena Model 3 ($90,000 pair including the two big subwoofers), driven by a High Fidelity Cables MA-1 amplifier ($30,000), fed by a four-stack dCS Vivaldi system ($114,996 total) and connected by High Fidelity cables.
Jason Victor Serinus  |  Apr 12, 2019  |  3 comments
Despite the challenging acoustics of air-walled conference rooms, retailer Audio Video Interiors produced extremely satisfying sound. True to McIntosh Laboratory's sonic signature, the company's C-1100 preamp ($14,000), relatively new 600Wpc MC-611 monoblocks ($15,000/pair), and MPC-1500 line filter ($5500) produced a beautiful, strong midrange and mellow top.
Jason Victor Serinus  |  Apr 12, 2019  |  4 comments
Disorder was the order of the day as everyone and their father ogled and chatted about the VAC Statement 450i iQ integrated amplifier ($150,000). During my relatively brief visit to this free-for-all space, in which demonstrations alternated between two systems, there were up to six people standing in front of the one I tried to hear. At one point, someone blocked the speaker on one side while a company rep chatted it up with someone on the other.
Jason Victor Serinus  |  Apr 12, 2019  |  0 comments
Happily, extremely listenable and well-balanced sound from a 24/176.4 file of Brubeck's "Take Five," and a 16-bit file of a track that I think was titled "Camptino," from the Erik Truffaz Quartet featuring the wonder Rokia Traoré, was the hallmark of a large, air-walled space sponsored by multiple companies. Here, chatting was minimal, perhaps simply because the sound was so good. I really enjoyed how mellow the sax sounded, and how drums were rendered with truthfulness without becoming clattery.
Jason Victor Serinus  |  Apr 12, 2019  |  5 comments
Illinois dealer F1 chose the sonically challenged, glass-encased Nirvana Lounge, on the second floor of the Renaissance Schaumberg's Convention Center, to stage its $428,871 crate-décor system complete with an important premiere: the Dan D'Agostino Momentum HD preamplifier.
Jason Victor Serinus  |  Apr 12, 2019  |  7 comments
In the middle of AXPONA's annual pre-show industry reception, held Thursday evening in the huge Schaumburg Ballroom of the Schaumburg Hotel & Convention Center, Paul Miller (on the right in the photo above), Director of AVTech Media/AVTech Media Americas—which publishes Stereophile, AudioStream, InnerFidelity, AnalogPlanet, Sound & Vision, and the UK's Hi-Fi News & Record Review (amongst other properties)—unexpectedly took to the stage . . .
Jason Victor Serinus  |  Apr 10, 2019  |  2 comments
Stereophile’s moment-to-moment coverage of the largest audio show in North America is about to begin.
Jason Victor Serinus  |  Apr 05, 2019  |  10 comments
Philip Glass (b. 1937) may not quite be a household name in America, but he's surely as well-known as any living classical composer, and the repetitive minimalism that is the hallmark of his music has influenced everything from rock music to TV commercials. Still, after 5 decades of composing, it took a commission from Chicago-based Third Coast Percussion for Glass to write his first concerto for percussion ensemble, Perpetulum—"What took them so long to ask me?" Glass has said about the commission. TCP has just released the premiere recording of the 21:23 minute concerto on their new 2-CD set, Perpetulum (OM 0132), from Glass's own label, Orange Mountain Music. The recording, which was engineered in 24/96, is also available as a download with those specifications.
Jason Victor Serinus  |  Mar 29, 2019  |  9 comments
The first and only time I heard a live performance of Mahler's five-movement Symphony No.7, from Michael Tilson Thomas and the San Francisco Symphony, I left Davies Symphony Hall confused. The bad press that the 70+ minute work has received for over a century, mainly for its innate ambiguity, convinced me that it was, at best, a problematic work—one that Mahler might have eventually revised had he lived long enough. But after listening to DSD128 files of Iván Fischer and the Budapest Festival Orchestra's new recording of the symphony for Channel Classics, released March 29 in SACD format, I've come to consider it a somewhat shy flower that puts on a brave face and remains in the shadows until a strong conductor coaxes it into the light and convinces it to share all of its bloom and fragrance.

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