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LATEST ADDITIONS

The Flexible Firms

Some years ago, we attended a hi-fi show in New York City where one of the exhibitors was RCA Victor. Their presence there would have been forgotten were it not for the fact that their exhibit, featuring their own discs played on their own line of phonographs, was producing some of the filthiest sound at the entire show. And that, in the proverbial nutshell, is why you never see reports in Stereophile on equipment made by RCA, Philco or General Electric.
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Recording of April 1982: Williams: Film Music

482rotm.promo250.jpgWilliams: Suites from Star Wars and Close Encounters of the Third Kind
Los Angeles Philharmonic orchestra, Zubin Mehta.
Mobile Fidelity MFSL-C.008 (cassette).

Originally released on London Records, then re-released with better sound on a Mobile Fidelity disc (now a cutout), these are stunning performances of these popular film scores, rivaling the composer's own performances of them. (Composers aren't always the best conductors of their own music, but John Williams is one who is.)

Sonically, this is simply a tour de force: Without a doubt the best commercially made cassette I've ever heard (and I've heard a lot of them). Last month, I expressed some doubt that the high end on any cassette could rival that of a half-speed LP and, indeed, there is a softening at the top on this cassette, when compared with the Mobile Fidelity disc. But the truth of the matter is that the cassette's high end is substantially more natural than that from the disc, which was one of Mobile Fidelity's first and had a slightly steely edge to it.

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Creek Evolution 100A integrated amplifier

As an audio scribe, the fiercest demons I wrestle are beliefs—yours and mine; those of my friends, my editors, my fellow reviewers; and those of the engineers and promoters of the products I write about. Sometimes the force of these rabidly held and (mostly) conflicting beliefs paralyzes me with self-doubt: What do I know? What makes me qualified to listen and judge?
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Music in the Round #73

Most new preamplifier-processors now fall into one of two categories. First are the fully featured models, with ever-growing numbers of channels to support such immersive surround-sound formats as Dolby Atmos, Aureo3D, and DTS-X. An example is Marantz's 13.2-channel AV-8802, which replaces the 11.2-channel AV-8801—a sample of which I've owned for barely a year and use only in 5.2! The second category is that of such high-end models as Classé's Sigma and NAD's M17, which offer only 7.1 or 7.2 channels, and from which nonessential features have been trimmed in favor of audiophile-grade circuit components and construction. But if money is no object, there is a third class of pre-pro, exemplified by Trinnov's Altitude32 and Datasat's RS20i, in which no compromise is made in any of these parameters.
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Listening #151

Before hitting the Refresh key on last month's column, which was dedicated to the challenges one encounters when evaluating audio cables and other accessories, I'd like to share with you a true story: a cautionary tale, as it were, about the hazards of writing reviews for a living.

Seven or eight years ago, just as spring was returning to upstate New York, I made my annual trek to Montreal for Salon Son et Image: one of my favorite audio shows for a number of reasons, not the least being the fact that I can travel there by train.

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Recording of May 1982: The Sheffield Drum Record

666shefdrum.jpgThe Sheffield Drum Record
Improvisations by Jim Keltner and Ron Tutt (drums)
Sheffield LAB-14 (LP) (1981). Reissued as FIM DXD 001 (CD) (2010). Bill Schnee, Doug Sax, prods.; Lincoln Mayorga, exec. prod.; Steve Haselton, Bill Schnee, engs. TT: 13:49.

There was a time when drum records were as common as records of steam locomotives and thunderstorms. It has been so long since anyone has tackled any of them that a lot of technology has gone over the dam, but they are precisely the kind of program material which illuminate the state of the audio art like nothing else. Thus, Sheffield's Drum Record emerges as a landmark—a technological tour de force that should discourage anyone else from issuing a similar disc until the state of the art advances by a few more years.

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Moon by Simaudio at 35

Established in 1980 by Victor Sima as Sima Electronics, Canadian audio company Moon by Simaudio Ltd. celebrates its 35th year in the audio business in 2015—or, as its ads say, "35 years of passion." To mark the event, Simaudio had a party at Executive Stereo, their Toronto dealer (see photo above). It was a fairly low-key event, with a handful of Toronto-area audio journalists—including yours truly—and representatives of Simaudio attending.
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Vinyl Resurrection at the 2015 New Music Seminar

Left to right at the "Vinyl Resurrection" seminar: Nina Palmer (Ross Ellis Printing), Steve Sheldon (Rainbo Records), Michael Kurtz (Record Store Day), Bryan Burkert (The Sound Garden), Matthew Johnson (Fat Possum Records), and Mark Piro (Spark/Razor & Tie).

The New Music Seminar 2015 was a three-day (June 21,22, and 23) conference held in New York that invited music industry insiders to dialog on the current state and potential future of the music delivery business. Right away I knew I wasn't at CES...

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