An argument could be made that most speakers are designed to sound best with their grilles intact, while others might reason that anything in front of a tweeter has got to be bad. Reader Gerald Neily wants to know if you prefer to listen with your speaker grilles on or off.
I recently bought a turntable, the first I've owned in about 15 years. I had sold my vinyl collection—a mix of classic rock, early 1980s pop, and the odd jazz or classical LP—when I was in grad school, for economic reasons: I needed the money for rent, or food, or beer, or something. Nor do I know what happened to my old plastic turntable; more than likely, I left it curbside for anyone strolling by who was able to appreciate its value.
A grainy film is said to exist that proves the viability of a mechanical antigravity device. The inventor, a native of Syracuse, New York named Harry W. Bull (footnote 1) placed his so-called "bootstrap machine" on a bathroom scale, focused a borrowed home movie camera on the dial, powered up the machine, and watched as the numbers spun backward. This event, and the development work that led to it, were the basis for a series of articles—and a subsequent exchange of heated letters—in <I>Popular Science</I> magazine. The year was 1935.
When PR guy Adam Sohmer first told me about the Fosgate Audionics FAP V1, I thought that the impressive-looking device would be the first all-tube preamp-processor—heck, the first tube <I>anything</I>—in my multichannel system. Then I looked closer at the user's manual I'd downloaded from Fosgate's website. Hmmm. No Dolby Digital, no DTS—just Dolby Pro Logic. Of course, the FAP V1 is Jim Fosgate's signature expression of Dolby Pro Logic, and I guess that counts for something. But the more I thought about it, the more interesting a prospect the FAP V1 seemed.
It's common to read ads for new audio hardware that crow about "revolutionary" breakthroughs in sound performance, and that's how Velodyne crowed about their new Digital Drive DD-18, servo-controlled, powered 18" subwoofer. The ads suggested that the DD-18 can be digitally equalized to one's room with a resultant in-room frequency response of 20-200Hz, ±3dB.
Consumers prefer to get a good deal, and dealers like to maintain a healthy profit margin. Somewhere in the relationship is a perfect balance, where buyers get a legitimate product for the best price while dealers make enough money to ensure that the customer can be supported properly.
"No company has done more to vigorously fly the audio <I>tricolor</I> as has Focal-JMlab," declares Paul Bolin, who visits the Focal factory and then reviews the <A HREF="http://www.stereophile.com/loudspeakerreviews/604focal">Focal-JMlab Nova Utopia Be loudspeaker</A>. PB adds, "One thing about the Utopia line has not changed: the exquisite level of finish." But what about the sound?
All of us at <I>Stereophile</I> were saddened by the death of Ray Charles. The giant of music passed away Thursday, June 10 at his home in Beverly Hills, surrounded by friends and family. He was 73.
Artists' audit rights: The California Assembly is scheduled to vote Tuesday, June 15 on a revised bill that would give recording artists the right to audit companies to ensure proper royalty payments. The bill would also give them the right to hire auditors on a contingency fee basis, and to initiate group audits, a provision that could make audits a class action issue. The proposed legislation is the result of talks between the Recording Industry Association of America (RIAA), the American Federation of Television and Radio Artists (AFTRA), and several state legislators, in particular State Senator Kevin Murray (D-Culver City), a longtime advocate for accounting reform in the recording industry.
Reader Wilbur Pan has discovered that most audio preamps have a paltry four pairs of inputs. He comments, "I don't think that I am asking too much out of a component that may cost over $2000 to provide me with an adequate number of inputs." Have you found that preamps have enough inputs for your needs?