In his review of the <A HREF="http://www.stereophile.com//digitalsourcereviews/407/">Toshiba SD-9200 DVD-Audio player</A>, Chip Stern asks the question "In a rollout of new technologies more or less driven by the expectations of the home-theater crowd, what's in it for us music-lovers?" Stern uncovers the answer and then some, while Kal Rubinson explores the player's surround-music performance.
Most aspiring musicians dream of the day they will sign a contract with a major record label. Too often, the dreams become nightmares from which they can escape only much later in life.
Breaking news at the 2001 CEDIA Expo, held this past weekend in Indianapolis, IN, was that Harry Pearson, founder and editor of bimonthly high-end audio magazine <I>The Absolute Sound</I>, has apparently been moved to one side. According to <I>TAS</I> publisher Mark Fisher, with whom I spoke briefly Sunday morning on the Show floor, the day-to-day editing of the magazine will become the responsibility of erstwhile <I>Stereophile</I> consulting technical editor Robert Harley.
Forget the SACD/DVD-Audio format wars, a more interesting (and potentially more devastating to consumers) battle is brewing among companies racing to add copy protection technology and other restrictions to compact discs.
My dogs were killing me. It was the end of the second day of the 1985 Summer Consumer Electronics Show, which I was visiting on behalf of English magazine <I>Hi-Fi News & Record Review</I>. I had been dutifully tramping the capacious corridors of Chicago's McCormick Center and the rooms of the (now demolished) McCormick Inn, looking for signs of musical life amid the huge promotion for the 8mm tape format, which was being heavily touted at CES as the future of both video and audio (!) reproduction. Even trade-paper headlines shouting "<I>Audio: Not Just Video Peripheral!</I>" failed to lift my spirits as I took the shuttle bus over to the Americana Congress hotel on South Michigan, where most of the high-end audio companies were hanging out.
Audiophiles are not easily satisfied, and are often accused of having a roving eye for new components. Anything you've been eyeing lately?
The Super Audio CD has won the endorsement of two more major record labels, according to press releases issued the last week of August. The announcements followed by only a few days one by <A HREF="http://www.stereophile.com/news/11123/">Universal Music Group</A> that it would begin producing the high-resolution recordings for mass distribution.
Just as the Asian economic crisis a few years ago dealt a big blow to American high-end audio manufacturers, the slowing American economy is causing repercussions for Japanese companies.
Melville, NY–based manufacturer <A HREF="http://www.josephaudio.com"> Joseph Audio</A> announced September 1 that the company was "pleased to accept the 'Best Sound at Show' award as determined by the votes of attendees" at the Home Entertainment 2001 event held in May at the NY Hilton. "We're deeply grateful that so many at the show felt that our RM33si Signature at $7500/pair was worthy of such an honor," said company president <A HREF="mailto:Josephaud@aol.com">Jeff Joseph</A>.
In his review of the <A HREF="http://www.stereophile.com//amplificationreviews/403/">Conrad-Johnson Premier Eleven power amplifier</A>, Wes Phillips comes clean and admits that he loves to be seduced by sound. Phillips writes, "Now, I'm not proposing that we embrace coloration . . . but the removal of all pleasure-producing tonalities doesn't necessarily make for increased realism."