Judging from the e-mail Wes Phillips has received since announcing Classic Records' 24-bit/96kHz "DADs" (DVD-Videos utilizing the two channels of 24/96 written into the video standard), audiophiles appear to be intensely curious about the new music format.
Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.
In a press conference held January 9 at the 1998 Winter Consumer Electronics Show in Las Vegas, Classic Records announced the debut of the Classic 24/96 digital audio disc "DAD" series of audio-only DVD-Videos. (Video information is included on the disc but represents only a tiny fraction of the data space.)
"Danes are boring," Dynaudio US's president Al Filippelli said. "Let's face it: They work hard, they tell the truth, they give full measure in deals, and they don't embroider. What you see is what you get."
You'd be hard-pressed to find a company more protective of its reputation than Krell. At a recent meeting of the Academy for the Advancement for High End Audio and Video, a motion was made to replace the phrase "High End" with the more purely descriptive "High Performance." Krell's CEO, Dan D'Agostino, objected—while he knew the description fit his products, he wasn't sure about those from some of the other members.
My next-door neighbor bought a late-'70s Porsche 924 last week, and I'm really glad he did. For one thing, it adds a little class to the 'hood—my 1984 Grand Wagoneer's peeling "wood paneling" is far more typical of the vehicles in my part of town. And Eric is just so obviously thrilled to own a piece of the legend—a real Teutonic driving machine.
What kind of speaker can you get for $250/pair? The most tightly contested sector of the speaker market in the UK is right around that price. If you want to be competitive in Old Blighty, you have to offer something pretty special in that range—and because the stakes are so high, the competition is fierce.
About a decade ago, I read in Stereophile about the SRC, an add-on remote-control unit manufactured by Acoustic Research. I bought one the next day ('swhat happens when you work across the street from a hi-fi shop). Suddenly I was able to make incremental changes in volume and balance from my listening position—and let me tell you that that's the way to do it. What a phenomenal difference in realistic dynamics and soundstaging.