Audio Skies Michael Vamos - YG Acoustics, JMF Audio, Ideon at Capital Audiofest 2025
The Listening Room and Fidelity Imports - Diptyque DP-160 Mk.2 at Capital Audiofest 2025
Fidelity Imports Audia Flight and Perlisten System
Fidelity Imports Wilson Benesch and Audia Flight System at Capital Audiofest 2025
J Sikora Aspire, Innuos Stream 3, Aurender N50, Gryphon Antileon Revelation, Command Performance AV
Bella Sound Kalalau Preamplifier: Interview with Mike Vice
BorderPatrol Zola DAC – Gary Dews at Capital Audiofest 2025
Audio Note UK TT3 Reference Turntable Debut at Capital Audiofest 2025
Kevin Hayes of VAC at Capital Audiofest 2025
2WA Group debuts Aequo Ensium at Capital Audiofest 2025
Capital Audiofest 2025 lobby marketplace walk through day one
Lucca Chesky Introduces the LC2 Loudspeaker at Capital Audiofest 2025
Capital Audiofest 2025 Gary Gill interview
Sponsored: Pulsar 121
Acora and VAC together at Capital Audiofest 2025
Scott Walker Audio & Synergistic Research at Capital Audiofest 2025: Atmosphere LogiQ debut
Sponsored: Symphonia
Sponsored: Symphonia Colors

LATEST ADDITIONS

The New York Audio Show: Finis

The word flagship takes on new meaning when the product in question is literally the size of a small boat; so it is with MartinLogan's 75"-tall, 385lb Neolith loudspeaker ($79,995/pair), which combines electrostatic and dynamic transducers in a high-tech phenolic frame. Appropriately enough, the Neolith's appearance at the Rye Brook Hilton took place in one of the two largest rooms reserved for the New York show. (One day after the show, I'm still not sure if those are sound-enhancing accessories, objets d'art, or dinner plates on the wall behind the Neoliths: There exist some questions that even the bravest reviewers are too squeamish to ask.)
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The New York Audio Show: Saturday Part Two

The day after I met manufacturer/industrial artist David Stanavich, it dawned on me why I was so taken with his Waxrax record racks: These sturdy, stylish, steel-and-aluminum structures resemble the shelving in my elementary school's library, ca 1960. If I could, I'd fill my home with multiples of the Waxrax LP-V3 tower seen here (LP capacity: 550). But at approximately $4000 per unit, depending on finish and options, this Brooklyn-built rack is too pricey. (To store 550 LPs for $4k works out to over $7 per record—which is more than many records themselves are worth.)
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Wisconsin Dealer Event Tomorrow

Tuesday, November 10, 6–9pm: To celebrate the US dealer premiere of AudioQuest's Niagara 7000 Low-Z Power Noise-Dissipation System, Ultra Fidelis (7125 West North Avenue, Wauwatosa) will host an evening of music, hi-fi, and technology. Special guest Garth Powell, AudioQuest's Director of Power Products, will be on hand to provide a detailed discussion on AC power technology and demonstrate the Niagara 7000 (above).
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The New York Audio Show: Saturday Part One

We make our beginnings in the manner of our endings; so it was on Saturday morning, when I headed back to the Rye Brook Hilton's Maple Room, where Friday evening Michael Lavorgna, Steve Guttenberg, and I had spun ripping yarns of shipping labels and galley proofs on the high seas of audio reviewing. (Yarr.) I was there to hear a presentation called Great Sound: Beyond the Gear: Life and Technology: A Compromise—a title with more colons than a lower-GI specialist sees in a week!—by an audio engineer/designer/producer/acoustical consultant named Stuart Allyn. I was running a minute or two late, and when I opened the door to the Maple Room I saw: a capacity crowd. Wow!

And that set the tone for the rest of the day...

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The New York Audio Show: Day One

There are shows that raise our expectations and there are shows from which greatness is not expected. And after October 26, when the organizers of the New York Audio Show, taking place at the Rye Hilton in Westchester County this weekend, announced that they were capping the number of exhibitors at 30—imagine Mike Huckabee or Hillary Clinton announcing a limit on corporate donations—this event slipped into the latter. No amount of positive, industry-healthy attitude on the part of myself or anyone else can shiny that up.

And yet . . .

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Music in the Round #75

Outside of the listening I do for this column, I always audition, assess, and review components without using any equalization or room correction—primarily because I assume that most Stereophile readers listen in two-channel stereo, and that most aren't all that interested in EQ. Besides, two-channel is the tradition I come from, and my first instinct is to try to get at the essence of the individual component itself, without applying extraneous tools or accessories. John Atkinson's bench tests are based on the same philosophy.
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