In a world where brand is everything and making money is the bottom line, it should come as no surprise that if there's a buck to be made, any deal is possible. But who would have imagined, 30 years ago, that the bad boys and girls of rock'n'roll would be married to the then-much-scorned icon of safe, watered-down elevator music?
<B>STEVE TIBBETTS: <I>A Man About a Horse</I></B><BR> Steve Tibbetts, guitar, percussion; Jim Anton, bass; Marc Anderson, Marcus Wise, percussion<BR> ECM 1814 (CD). 2002. Steve Tibbetts, prod., eng. ADD. TT: 45:07<BR> Performance <B>*****</B><BR> Sonics ****½</B>
If the devil is in the details, then Beelzebub has taken up residence in the collections of cables we use to connect our components. Reviewing the stuff is tough enough, but things are even more difficult for the average audiophile: Inevitably, the wire that sounds fabulous in the store or in your friend's system doesn't work worth a hoot in your own system, and you're left where you began. Equally inevitably, the wire that does work best carries a price more often seen in Tiffany's or Harry Winston. It's enough to drive a hi-fi nut to drink. So relax, pour yourself a nice glass of wine, and sit right back to hear the tale of Robert Lee and his amazing wires...
<B>PATRICIA BARBER: <I>Companion</I></B><BR> Patricia Barber, vocals, piano, Hammond B-3; John McLean, guitar; Michael Arnopol, bass; Eric Montzka, percussion<BR>Premonition/Blue Note 5 22963 2 (CD). 1999. Barber and Michael Friedman, prods.; Jim Anderson, eng. John Larson and Tom Reinholdt, asst. engs. AAD? TT: 58:11<BR> Performance <B>****?</B><BR> Sonics <B>****?</B>
The use of elliptical plastic ports in some loudspeakers has proven expensive for <A HREF="http://www.harman.com">Harman International Industries</A>.
Sam Tellig triggered a hailstorm of comment with his original review of the <A HREF="http://www.stereophile.com//digitalsourcereviews/480/">RadioShack Optimus CD-3400 portable CD player</A>. After Tellig suggested that the modest player just might be a cheapskate audiophile delight, writers Corey Greenberg, Jack English, John Atkinson, Barry Willis, and Robert Harley each added his two cents. Some revealing but hitherto unpublished measurements are also included.
Writing 30 years ago, in the November, 1971 issue, J. Gordon Holt tried to anticipate the cries of <A HREF="http://www.stereophile.com//asweseeit/483/">Sellout!?</A> as <I>Stereophile</I> began taking its first ads from dealers. Holt wrote, "Before you throw your hands up in horror . . . bear with us for another couple of paragraphs while we explain why this decision on our part need not prompt you to cancel your subscription immediately."
The year 2001 was a bleak one for the music industry. Of the major labels, only <A HREF="http://www.umusic.com">Universal Music Group</A> managed to turn a profit.
Imagine this: You're a modern kind of audiophile, and your music library is loaded and sorted (without any compression, of course) onto a hard-disk–based audio system which is networked throughout the house. You've also got a hard-disk–based audio system in your car.