Kevin Wolff, Vienna Acoustics' new international sales manager, poses next to the new $25,000/pair The Music loudspeakers.That rotating section of the cabinet contains Vienna Acoustics' revolutionary (<I>hah!</I>) new, flat, concentric 7" tweeter-midrange unit, which handles frequencies from 200Hz to 20kHz. A separate super-tweeter takes over above the audioband.
<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/CegjnVq8LN8&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/CegjnVq8LN8&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>
Right about now, I suppose John Atkinson and Wes Phillips are pulling into a rest stop, somewhere off the New York State Thruway. The sky is Sinatra blue and the air whispers secrets of spring. The doors to the Land Cruiser shut with a gentle thud, and the guys stroll into a 7-11 for some black peppered beef jerky, Nacho Cheesier Doritos, and a couple of tall Mountain Dews.
I believe <A HREF="http://www.stereophile.com/interviews/232">Ken Kantor</A> said it first: a couple of years ago, in his September 1990 interview with Robert Harley (Vol.13 No.9), he remarked that "there's no reason why a two-way 6" loudspeaker can't be the equal of almost the best speaker out there from a certain frequency point upward, with the possible exception of dynamic range." When I read those words, they rang true. If you put to one side the need to reproduce low bass frequencies and can accept less-than-live playback levels, a small speaker can be as good as the best, and allow its owner to enjoy the benefits of its size—visual appeal, ease of placement in the room, and the often excellent imaging afforded by the use of a small front baffle.
<B>WAGNER: <I>Siegfried</I></B><BR>
Siegfried Jerusalem, Siegfried; James Morris, Wanderer; Peter Haage, Mime; Eva Martón, Brünnhilde; Theo Adam, Alberich; Jadwiga Rappé, Erda; Kurt Rydl, Fafner; Kiri Te Kanawa, Forest Bird; Bavarian Radio Symphony Orchestra, Bernard Haitink<BR>
EMI CDS 7 54290 2 (4 CDs only). Wolfram Graul, prod.; Martin Wöhr, eng. DDD. TT: 3:49:25
Check back starting April 3 for live reports from the show.
<I>Stereophile</I> is partnering with the <I>Festival Son & Image</I>, to be held in Montreal, Canada, Thursday April 3 through Sunday, April 6. The first day is for trade and press only—public admission starts on Friday at 11am. More than 120 brands will be demonstrated in rooms on 11 floors of the Sheraton Centre hotel in downtown Montreal, and the Show's keynote speech is being given by Monster Cable's Noel Lee at 10am on the trade day, Thursday April 3.
The <i>Stereophile</i> <a href="http://forum.stereophile.com/forum/ubbthreads.php?Cat=0&C=1">forum</a> has been hot. I don't even know what's happening—I'm only the Administrator—but two members are really going at it. It's been going on for days. One dude sees things one way, and the other dude sees things in a very different way, and neither wants to meet anywhere near the middle.
Ornette Coleman’s concert last Friday at Town Hall in New York City was everything that anyone could have expected—a triumph of individual expression, group improvisation, and sheer, unconventional beauty.
Let's focus on sound for this week. (We'll zero-in on the music next week.) When you want to hear how good a recording can sound, what do you go for? Forget musical merit. What is the best-sounding disc you have in your collection?