<I>Stereophile</I>'s John Atkinson teams up with world-renowned recording engineer Tony Faulkner to create a landmark Mozart recording that has just been released simultaneously on hybrid SACD/CD, and LP. In <A HREF="http://www.stereophile.com/musicrecordings/804k622">Project K622</A>, JA recounts the entire process, noting, "The upbeat is the most magic moment in classical music making."
Tube fans might want to get their passports in order. We've received word that the European Triode Festival 2004 (ETF.04) will take place in Langenargen, Germany in December. The festival, which describes itself as "a gathering of tube audio hobbyists and professionals," says it will host participants from all over the world.
Reader Gerald Neily is curious about the control issues our readers have. He would like to know if you use a remote with your audio system, and if so, how do you use it?
When we last heard from Englishman <A HREF="http://www.stereophile.com/interviews/990paravicini">Tim de Paravicini</A>, whose <A HREF="http://www.stereophile.com/amplificationreviews/404ear">EAR 890</A> amp I reviewed in <I>Stereophile</I>'s April 2004 issue, the veteran audio designer suggested that he could make a transistor amplifier equal in performance to any of his successful tube designs. Whatever else it may be, the new EAR 324 is my first chance to test that claim: a stereo phono preamplifier without a single tube in sight. It isn't TdP's first all-solid-state product: That would be the line-plus-phono EAR 312 preamplifier, introduced to no small fanfare a little over three years ago. For all intents and purposes, the 324 is a standalone version of the phono section of that $18,000 flagship: The designs are virtually identical—excepting, of course, their casework and power supplies.
Consider the plight of solid-state muscle amps. Often derided as brutes lacking sophistication or subtlety, particularly by the SET set (<I>ie</I>, fans of single-ended triodes), these powerhouses are taken for granted and often, like Rodney Dangerfield, they get no respect. And once upon a time, the stereotypes were true. Every veteran audiophile has at some time heard an immensely powerful transistor amp that had the soft sonic allure of a sheet of sandpaper, a lumbering oaf of a component with nothing whatsoever to recommend it save for a bulging set of mighty moose muscles.
"Commoditization leads to the death of a specialty industry!" Hearing this at what I'd anticipated would be a sleep-inducing seminar on marketing, I pricked up my ears. The speaker was management guru Tom Peters, author of the best-selling <I>In Search of Excellence</I> and <I>The Pursuit of WOW!</I>. "Once your product is commoditized, all that is left to compete on is price," Peters continued, as I frantically scrawled down his comments, "and a small company will <I>always</I> lose to the big guns on price!"
The upbeat is the most magic moment in classical music making. Before the conductor brings down his baton for the downbeat, anything and everything are possible in the musical journey that is about to begin. And the upbeat to Mozart's sublime Clarinet Concerto that conductor Robert Bailey was about to give in London's Henry Wood Hall last November gave me an extra frisson—as producer of the recording sessions, I would have to pronounce instant judgment on everything I was about to hear.
Pay $350,000 for an amplifier?!?!! Michael Fremer takes a deep breath and plugs in the <A HREF="http://www.stereophile.com/amplificationreviews/704wavac">Wavac SH-833 monoblock power amplifier</A> in order to hear for himself what he might get if he traded in his house. "When tmh's Jim Ricketts asked me if I wanted to review this eight-box assemblage," says MF, "the first thing I did was laugh at the ludicrousness of the situation. Then I said, 'Why the hell not?'"
Running counter to the music industry's paranoia concerning the perils of modern digital technology, some musicians <I>want</I> you to share their music—within limits. <A HREF="http://www.garageband.com">GarageBand.com</A>, which bills itself as "the world's largest musician community," announced June 7 that it now offers the Creative Commons Music Sharing License as an optional tag for all songs uploaded to its website.
For some time now, the truly hip Web-enabled person of stature has shared his or her thoughts with the world via a blog (from we<B>b</B> <B>log</B>); these days actors, musicians, and, yes, even politicians are getting into the act.