Apple AirPods Pro 3: First Impressions
Hegel H150 Integrated Amplifier Officially Announced
Sonus faber Announces Amati Supreme Speaker
FiiO M27 Headphone DAC Amplifier Released
Audio Advice Acquires The Sound Room
Sponsored: Pulsar 121
CH Precision and Audiovector with TechDAS at High End Munich 2025
KLH Model 7 Loudspeaker Debuts at High End Munich 2025
Sponsored: Symphonia
Where Measurements and Performance Meet featuring Andrew Jones
Sponsored: Symphonia Colors

LATEST ADDITIONS

Are You in your Happy Zone?

Once in a blue moon, I'm asked this question: How much should I spend on an audiophile rig? It's usually asked by someone with no real interest in buying an audiophile rig, but who's fishing, for giggles, for the exorbitant figure that is the presumed going rate for joining our hobby. Sometimes, when the mood strikes, I'll bang out a randomly absurd number—"$80,000!"—then lean back to observe the fallout. Nine times out of ten, that fallout consists of a head shake and a snicker, as if to say, "You guys are nuts!" But on those occasions when honesty seems the best policy, my short answer to the how-much question, regardless of the buyer's financial means, is the same: As little as possible.
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Seattle Symphony's Superbly Recorded Mahler 10

You will have to hunt far and wide for a finer-sounding recording of Mahler's final Tenth Symphony than this one of the Deryck Cooke completion from the Seattle Symphony under Principal Guest Conductor Thomas Dausgaard. Captured in 24/96 hi-rez by Dmitry Lipay and Alexander Lipay, and available as both a 5.1 surround sound and stereo 24/96 download as well as in 16/44.1 on CD, the recording stands apart for the richness of its lower midrange, the impact of its bass drum thwacks, and the supremely saturated colors.
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Recording of August 2016: Andando el Tiempo

Carla Bley, Andy Sheppard, Steve Swallow: Andando el Tiempo
ECM 2487 (CD). 2016. Manfred Eicher, prod.; Stefano Amerio, eng. DDD. TT: 47:19
Performance ****½
Sonics *****

Resistance is futile. From the moment she dropped out of high school in Oakland, California and headed for New York, nothing was going to stop Karen Borg, the daughter of a church organist, from evolving into one of the most influential jazz composers of her generation in her new identity as Carla Bley. While working as a hat-check girl at Birdland, she met the brilliant avant-garde pianist Paul Bley (1932–2016), married him in 1957, and kept the surname when, in 1964, they divorced. She began composing during that period, transforming the music she'd learned from her father into a jazz language rooted in the numinous depths of devotional music, but capable of the free expression absorbed from compatriots of her husband such as Ornette Coleman and Charles Mingus.

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CAF2016: Saturday at the Hilton with Herb

Before I visited the Bob's Devices booth in the Plaza ballroom, I was having a hotel breakfast with my runnin' buddy (and Stereophile's Deputy Editor) Art Dudley. We were speaking in whispers—plotting the overthrow of all governments—when a happy guy with facial hair, who I later found out was Bob Sattin of Bob's Devices, comes to our table and says he wants to show us a photo of a "modified record player"…
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