The sixth annual Rocky Mountain Audio Fest is about to get underway at the end of this week. Scheduled to take place October 2–4, at the Denver Marriott Tech Center, the largest high-end audio show in the US that's open to the public will offer 150 exhibit rooms packed with products from 479 companies. Despite the economic slowdown, at least 3500 audiophiles, the same number as last year, are expected to attend.
Wilma Cozart Fine died Monday September 21 at age 82. Together with her husband Bob Fine, Cozart was responsible for producing and engineering Mercury's superb-sounding series of "Living Presence" classical recordings in the 1950s and '60s.
This tiny, lightweight, battery-powered jewel is loosely based on Nagra's VPS phono stage that I <A HREF="http://www.stereophile.com/phonopreamps/908nag">reviewed in October 2008</A> but uses bipolar transistors instead of tubes. The bottom of the company's familiar brushed-aluminum case has a grippy rubber material die-cut to spell <I>Nagra</I>. It's intended to keep the preamp from sliding, but stiff cables will have the BPS hanging in the air if you're not careful. The BPS costs $2399.
When I attended the Audio Engineering Society convention in October 1987 (my first time in over eight years; full report in this issue), I was impressed by the incredible technology now available to composers of music. I was also dismayed, however, by the extent to which so-called purist audio, as well as "acoustical" music, have been consigned to oblivion by the pro audio community. It was clear, both from the exhibits and the many conversations on which I eavesdropped, that audio professionals are no longer concerned about fidelity, in the sense of trying to <I>re</I>produce sounds accurately. A "real" sound has become to them merely raw material of no value except as something to be processed, manipulated, folded, bent, and spindled to produce any sonic effect except the original one. About a third of the products displayed at the 83rd AES convention were tools for doing that.
<i>Stereophile</i>'s founder, <a href="http://www.stereophile.com/historical/66/index.html">J. Gordon Holt</a>, who passed away in July, was also a recording engineer. Here we see one of his projects, a rare 1958 LP of British-born American folk singer, Richard Dyer-Bennet, the "twentieth-century minstrel."
Designed to be used onstage by musicians monitoring their sound and mix, in-ear monitors (IEMs) such as the new Westone 3 are great in situations where you want to hear nothing but the music. They're small and portable, and their high efficiency and easy impedance load mean they work well with portable players. IEMs are better than electronic-feedback, noise-reducing, closed circumaural phones at blocking out airplane engine noise and annoying neighbors who want to chat. They're also more compact, sound better, and don't require batteries.
I got early into personal stereos. I lost my driving license for a while in the mid-1970s—something about a stop sign and "failure to observe"—so I used to take the train to a regular bass-playing gig I had in Brighton, on England's south coast. Not only did I conclude that any audio magazine worth its cover price had to have enough meat in it to last the two-hour journey and back again, I also built myself an op-amp–based, battery-powered amplifier to drive a pair of RadioShack headphones. Desperate times called for desperate measures, and my only source was a mono cassette recorder. Inside-the-head mono is as mono desperately does, so once I got my license back, it was back to the car and stereo FM radio. It wasn't until a) I moved to New York City to become a strap-hanging commuter and b) bought a 2003-vintage 30GB iPod (which I still use) that music on the move again began to play a major role in my listening.
Phiaton is the brand name used by the South Korean Cresyn Company. Wes Phillips reviewed Phiaton's conventional closed-back <A HREF="http://www.stereophile.com/headphones/phiaton_moderna_ms_400_headphones… MS 400 headphones</A> in January 2009 and was as impressed by the sound quality as he was by their appearance. The PS 200 ($249), the only in-ear headphone sold by Phiaton, also has a striking appearance: the black rear face, which is all someone sitting next to you in the subway will see, resembles the turbine blades of a fan-jet engine. There are two balanced-armature drive-units, with a passive crossover network.
Innovation can often come from unexpected places, but "thinking different" can also engender ridicule. Is audio's "lunatic fringe" good or bad for the hobby?
Show me a music writer who has no guilty pleasures and I’ll show you someone you don’t need to waste time reading. Anyone with passion for music, which is what drives you to try to put what you hear into words, has a brain studded with funny little weaknesses. Many is the music writer who has a Bobby Sherman record stashed somewhere. I have a friend, a blues nut extraordinaire, who one dark night admitted to me under the influence of single malt that he “had a few Beatles albums” hidden away under his bed like girly magazines. And then of course there’s always the issue of hipness overload. No one can be cutting edge all the time. There are times when you just want to hear Hall & Oates or Karen Carpenter’s dusky tones and you don’t care who knows. I like Grizzly Bear fine for example, but sometimes you just gotta give in, shed that uber skin and dive headlong into some accessible–as–hell Whiz.