Let's face it. Despite the vinyl resurgence amongst the young and not so, the days when <I>analogus collecticus</I> could spend hours scouring record bins, holding product in hand, and reading album notes, are mostly behind us. In response to market evolution, at least three competing computer-based technologies have emerged to steer consumers toward music they will likely enjoy. Each uses a different approach, with one claiming "objectivity."
Assuming you could get any resolution you wanted (we are audiophiles after all) from a music download site, would you prefer to purchase individual tracks
<I>Death to the fascist insect that preys upon the life of the people.—an old SLA slogan</I>
The French-made Kora line has been in and out of American distribution over the past decade. It's currently imported by Norman AV of Aventura, Florida. With the window of opportunity open again, I decided to listen to Kora's modestly priced hybrid integrated amplifier, the Explorer 150SB ($2030).
On Friday morning, March 25, 2005, my friend Maura Rieland, <I>Stereophile</I>'s show coordinator through the second half of the 1990s, e-mailed me to say that she had just learned of the passing of Ken Nelson.
<B>RENÉE FLEMING: <I>Haunted Heart</I></B><BR>
Renée Fleming, vocals; Bill Frisell, guitar; Fred Hersch, piano, arrangements<BR>
Decca B00004406-02 (CD). 2005. Renée Fleming, prod.; Elliott Scheiner, prod., eng.; Peter Doris, Aya Takemura, Brian Montgomery, Anthony Ruotolo, asst. engs. DDD. TT: 63:58<BR>
Performance <B>*****</B><BR>
Sonics <B>****</B>
The first National Critics Conference in US history took place May 25–29 at the Omni Hotel in downtown Los Angeles. Subtitled "Critical Unity in Critical Times," the gathering brought together US and Canadian members of organizations devoted to visual arts, dance, jazz, classical music, and theater criticism.
With new music download services, including the move to higher resolutions, one vital question still remains for the music business: Will the majority of consumers prefer to continue purchasing music <I>à la carte</I>, one track or album at a time, or will they prefer to subscribe to an unlimited library?
Last week's question implied that high-end audio dealers are getting scarcer. Let's back up a bit and ask if that's really the case. Do you find that high-end audio dealers are getting more scarce in your area?
Not every interesting audio component gets a full review in <I>Stereophile</I>. Many more products are covered in Sam Tellig's, <A HREF="http://www.stereophile.com/artdudleylistening">Art Dudley's</A>, Michael Fremer's, <A HREF="http://www.stereophile.com/musicintheround">Kal Rubinson's</A>, and <A HREF="http://www.stereophile.com/thefifthelement">John Marks'</A> regular columns than I have the space to publish measurements for. However, I do ask for samples of products that I feel deserve to be measured, particularly when our original coverage raised more questions than it answered.