Doug Sax is undoubtedly one of the most controversial and outspoken figures in audio. As co-founder, with Lincoln Mayorga, of Sheffield Lab, Doug pioneered the first modern direct-to-disc recording. His perfectionist methods may be controversial, but the results certainly are not: Sheffield Lab recordings are nearly universally praised by the audiophile community, while the <I>Billboard</I> Hot 100 always features at least one Sax-cut disc.
When I first heard the Eagle 2 at the 1985 Winter CES I knew this amplifier was a winner. I was eager for a chance to get my hands on it, but I also knew that J. Gordon Holt was champing at the bit to do the same. So it came as both a surprise and a delight when ye Gracious Editor gave me first crack at the Eagle 2. I wasn't disappointed; the little Eagle more than lived up to expectations. It's not the best power amplifier I've ever heard, but it's damn good. It is, in fact, better than its big brother, the Eagle 7A, in significant ways; in view of the 2's reasonable price, that's saying a lot.
<i>Me, in the old cubicle at 110 Fifth Avenue, just eight months into the new job. I was thinner then, and had more hair.</i>
Reader Jeff Nobe is wondering what our readers consider the best name ever used for an audio company and why?
I find it more than a little ironic that in 1990 the only two digital-to-analog converters to employ a new state-of-the-art DAC also use vacuum tubes. Many in the audio community consider tubes an anachronism, and find it surprising and humorous that they are still used in newly designed audio products. The fact remains, however, that these two tubed digital processors achieve the best digital playback currently available—and by a wide margin. Moreover, their respective designers' technical savvy and passion for building leading-edge products is reflected in their choice of these superlative and <I>very</I> expensive new DACs. Is it mere coincidence that both designers also chose vacuum tubes to realize their vision of no-compromise digital playback?
They were quite a couple. Like a pair of Octopi in heat. First, he was grabbing her ass. Then he had his hands up the back of her shirt. Then, up the front. Then he had his hands down the back of her pants. Then, down the front. Both hands and about half of his forearms. Her only reaction was to smile, swoon and stick her tongue in his mouth. I'm damned impressed that she was able to keep her clothes on during this determined assault upon her New Jersey virtue. Best of all, during this entire spectacle, they were simultaneously kissing and falling down at the same time. Groping does not begin to get what was happening in my section on Thursday night at the Beacon Theatre.
I think it's time to talk about Floods' <i>Transmission</i>, as the album is now almost a year old. It was released on August 8, 2008. I know this album very well because I'm one of Floods' two band members. I played a lot of guitar for <i>Transmission</i> and even sang a little bit, while my good friend, Brother Todd, handled the synths, programming, and editing. We shared arrangement duties and we never fought about anything, I swear.
I woke up this morning with the sun in my face and Heather Duby's "<a href="http://blog.stereophile.com/stephenmejias/031908heatherduby/">Places Shape Lives</a>" churning through my mind. I heard the old moan of cello and the aching melody, the hypnotic precision of the just-tuned drums, the constant trembling of the strangled guitar, and I knew it would be a good day.
Wye Oak is a sort of American folk duo. Andy Stack plays drums and keys (at the same time), while Jenn Wasner sings and absolutely wails on the guitar. This is a video for their song, "Please Concrete," from their 2008 debut <i>If Children</i>.
Tell the truth, now: When you're traveling on vacation, and supposedly engaged only in the normal tourist activities of seeing the sights, visiting museums, etc., aren't you also on the lookout for interesting audio stores?