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Art Dudley  |  Mar 19, 2019  |  1 comments
The late Julian Vereker, the sharp-minded former racing driver who founded Naim Audio and designed its first products, did so because he wanted audio amplification of a quality he felt no one else was making at the time, reasoning that if he wanted such a thing, so might others. Thus came about Naim's first domestic-audio product, the distinctive NAP200 solid-state amp (1973).
John Atkinson  |  Mar 19, 2019  |  2 comments
High Performance Loudspeakers: Optimising High Fidelity Loudspeaker Systems, Seventh Edition, by Martin Colloms. John Wiley & Sons, Inc., 2018. Paperback, 696 pp., $95. Available as an eBook, $79.99.

"Listen to that—that's what I mean by 'cone cry!'"

It was 1979. I'd been taking part in a blind listening test of loudspeakers organized by Martin Colloms (footnote 1) for the British magazine Hi-Fi Choice and, after the formal sessions had ended, had asked Martin to explain something I'd heard. A drive-unit's diaphragm produces cone cry when it resonates at a frequency unconnected with the musical signal it is being asked to produce; we had been using an anechoic recording of a xylophone, and one of the loudspeakers we'd been listening to was blurring the pitches of some of the instrument's notes.

Jason Victor Serinus  |  Mar 17, 2019  |  5 comments
Don't be fooled by Definitive Audio of Seattle's intentionally understated exterior. In my five years covering the annual four-hour Music Matters showcases, I have never heard such stellar sound from the store's six showrooms and head-fi listening area. In fact, four of the exhibits at Music Matters 14, held on Thursday March 7, together offered the finest sound I have ever experienced at any show or store event. And I'll swear by that statement.
Stereophile Staff  |  Mar 14, 2019  |  2 comments
Components listed here have been formally reviewed in Stereophile and have been found to be among the best available in each of four or five quality classes. Whether a component is listed in Class A or Class E, we highly recommend its purchase.

Each listing-in alphabetical order within classes-is followed by a brief description of the product's sonic characteristics and a code indicating the Stereophile Volume and Issue in which that product's report appeared. Thus the May 2018 issue is indicated as "Vol.41 No.5."

John Atkinson  |  Mar 12, 2019  |  50 comments
The dichotomy between what is measured and what is heard has resurfaced in recent months. Jon Iverson discussed it in his "As We See It" in our December 2018 issue, and I followed up on the subject in my January 2019 "As We See It." These further thoughts were triggered by an e-mail exchange I had last December with Stereophile's longtime copyeditor, Richard Lehnert.
Jon Iverson  |  Mar 12, 2019  |  3 comments
David Crosby: Here If You Listen
BMG 538431461 (LP), 538429532 (CD), none (FLAC 24/48). 2018. David Crosby, Michael League, prods.; Fab Dupont, prod., eng., mix; Josh Welshman, eng.; Greg Calbi, mastering. ADD/DDD. TT: 45:08
Performance ****
Sonics *****

In 1967, the year the Byrds would fire him, David Crosby sits in a room—a small space, from the sound of it—with a cheap microphone and a recorder of dubious merit. He's improvising some jazzy, open-tuned acoustic guitar strumming, adding nonlexical vocables on top. He then files away the resulting tape—clearly ahead of its time and of no use to his bandmates—for 50 years.

Stereophile Staff  |  Mar 11, 2019  |  14 comments
Our 180-page April issue is hitting newsstands, mailboxes, and tablets this week and, as always with Stereophile's April issues, it includes the revised and updated edition of our "Recommended Components" feature—capsule reviews of the best-sounding gear available. And featured on the April issue's cover is Klipsch's RP-600M speaker, which features a horn-loaded tweeter. Read Herb Reichert's report to see how he felt about this little gem...
Jason Victor Serinus  |  Mar 08, 2019  |  9 comments
Given its engrossing, frequently radiant score, unflinching look at its timely subject matter, and superb cast of singing actors, Pentatone's live hi-rez recording of the premiere of Mason Bates and Mark Campbell's opera, The (R)evolution of Steve Jobs, fully deserves the Grammy recently bestowed upon it by the Recording Academy.
Jay Clawson, Chuck Zeilig  |  Mar 07, 2019  |  First Published: Jun 01, 1986  |  39 comments
Publisher's note: The following article, from the early days of Compact Disc, is presented with no claim for absoluteness. (In fact, just as we go to press in the spring of 1986, we received a manuscript from Philip Greenspun, Product Review Editor of Computer Music Journal (Cambridge, MA), who had precisely the opposite result when comparing CD to analog versions of the same recording, though it was unclear that his test procedures were as thorough as in the tests by these authors.) The tests described are neither single- nor double-blind, and the author's decision to forego conversation while listening to the same products does not by any means guarantee lack of mutual influence—especially because their musical tastes are so well known to each other. Moreover, repeating the test with different phono equipment, a different CD player, and a different replica of the master tape would likely yield somewhat different results.

Nevertheless, I think the basic conclusion is sound: good CD reproduction is remarkably close to a fairly good version of master tape sound; there's a good chance that it's more accurate than what you'll get from the average cartridge, tonearm, and turntable.

John Atkinson  |  Mar 07, 2019  |  First Published: Nov 01, 1991  |  3 comments
91maggie26rAsk anyone in the street what they think of when they hear the word "loudspeaker" and odds are they'll describe a wooden box with moving-coil drivers sitting in its front. But ask a Stereophile reader and it's quite possible that he or she'll describe a large, flat panel reminiscent of a room divider: in our 1989 reader survey, the most widely represented brand of loudspeaker was Magnepan, with a significant lead over Infinity and Vandersteen, the second and third most common speaker brands. This represents considerable commercial success in a generally conservative marketplace for a company whose products are so different from the norm.

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