<I>The Telegraph</I> has a <A HREF="http://www.telegraph.co.uk/news/picturegalleries/celebritynews/4942055/… show</A> of 21 previously unpublished photographs of the Beatles and Rolling Stones, taken mostly by their US tour manager Bob Bonis.
After <a href="http://blog.stereophile.com/stephenmejias/the_rega_p3-24_iin_colouri/">… that</a>, I went with white.
Like all companies that have been in business long enough to become fixtures in the marketplace, Infinity has seen its share of changes. It has long been that audio rarity—a company with one foot in the High End and one in the mass market. For the past few years, however, and despite continuing production of the now-classic IRS in its Series V incarnation, Infinity's mass-market foot has been the more firmly planted. Infinity, now a large company, is part of an even larger conglomerate, Harman International.
Everyone loves a bargain. Everyone loves finding an undiscovered gem. But for audiophiles on a budget, finding good, reasonably priced cables isn't a luxury but a necessity. In a $1000 or $2500 system, there simply isn't money for $500 interconnects or $1000 speaker cables. Even a $5000 system—which most of my well-educated, music-loving, affluent friends view as pretty extravagant, by the way—can't accommodate premium cables like the <A HREF="http://www.stereophile.com/cables/800nirvana">Nirvana</A>, <A HREF="http://www.stereophile.com/cables/198synergistic">Synergistic Research</A>, or <A HREF="http://www.stereophile.com/cables/1101nordost">Nordost</A> models that we reviewers rave about as "critical to getting the most out of your system."
<i>The lovely, fashionable, and hell-raising Coral, dressed to kill and with all of today's hottest accessories.</i>
I can see the scene now, Gary, the mighty Max, the Big Man, all standing around the studio, looking at their feet, afraid to tell Bruce that one of his new songs, the otherwise very charming, “Outlaw Pete,” has a melody very similiar to the one found in KISS’ “I Was Made For Lovin’ You Baby,” their successful quasi-disco single off their otherwise weak 1979 stylistic stumble, <I>Dynasty</I>.
<B>1950:</B> "The ultimate in disc recording is to make the reproduced sound as near as possible to the original..." (<I>The founder of </I>Audio<I> magazine, C.G. McProud, in "Recording Characteristics," </I>Audio Engineering<I>, January 1950, reprinted in </I>The 2nd Audio Anthology<I>, p.67, Radio Magazines, 1954.</I>)
<B>BOBBY KING & TERRY EVANS: <I>Rhythm, Blues, Soul & Grooves</I></B><BR>
Rounder 2101 (LP), CD 2101 (CD). Brian Levi, eng.; Bobby King, Terry Evans, prods. AAA/AAD. TT: 49:53
In my rather jaded <A HREF="http://www.stereophile.com/asweseeit/the_1986_winter_ces/">report from the 1986 Winter CES</A> (Vol.9 No.2), I remarked that there was nothing really new in the field of high-end audio. Well, I was wrong. I overlooked the Acoustic Sciences Corporation Tube Traps, a patented new acoustic device designed by Arthur Noxon (president of ASC). The Traps represent the first practical and effective solution to a perennial audiophile problem: standing waves in the listening room.
Is it the atmosphere? The power line? Your brain? Does your system's sound quality vary from day to day?