Hegel H150 Integrated Amplifier Officially Announced
Sonus faber Announces Amati Supreme Speaker
FiiO M27 Headphone DAC Amplifier Released
Audio Advice Acquires The Sound Room
Sponsored: Pulsar 121
CH Precision and Audiovector with TechDAS at High End Munich 2025
KLH Model 7 Loudspeaker Debuts at High End Munich 2025
Marantz Grand Horizon Wireless Speaker at Audio Advice Live 2025
Sponsored: Symphonia
Where Measurements and Performance Meet featuring Andrew Jones
Sponsored: Symphonia Colors

LATEST ADDITIONS

The Koss Tony Bennett Special Edition TBSE1 Headphone

This story originally appeared at InnerFidelity.com

With about 27% of the population over age 50, and roughly 30% of all headphone purchases influenced by celebrity endorsement, I can understand why Koss turned away from the heavy competition for the younger generation's wallet and focussed their attention on the baby boomers with the introduction of their Tony Bennett headphones. Personally I prefer Tony Bennett to Dr. Dre, Ludacris, and 50 Cent, but I'm not sure the geriatric headphone buyers are really part of the 30% of purchasers who are influenced by celebrity endorsement.

Let's see how they sound.

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A Sunday Drive, an Unbeatable Experience

The big difference between car audio and home audio, explains WIRC Media's Micah Sheveloff, is car audio’s need to overcome ambient noise. In fact, to a large extent, it’s this simple requirement which dictates a system’s overall design. In the case of the Caprice, the system had to have enough power to overcome the car’s custom-built 2.25-inch stainless dual exhaust.

By this point in our conversation, Micah has already apologized for the noise a number of times.

“Let’s listen to the system for a bit and I’ll see if we can find some good roads,” Micah suggests. “Ready?”

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A Sound Salvation: More Thoughts on Rdio, MOG, and Spotify

A Spotify advertisement interrupts my listening. The ad is invisible, embedded in between the lines of my play queue. As it begins, a modern crooner soars over a twinkling piano. This is not the 311 I was just listening to. A voice very politely interrupts: “Hi, this is Bruno Mars.”

I need my riffage! Not ads!

Seconds later, a reminder pops up in my Microsoft Outlook program: “Rdio”

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Stereophile's Products of 2011

What makes one particular hi-fi component stand apart from all others in its class? In this issue's "The Entry Level," I state that an outstanding hi-fi component will fuel the listener's desire to explore new music. If a component does not achieve that fundamental goal, it has failed altogether and should be passionately heaved from the nearest listening-room window to hit the unforgiving asphalt with a definitive, satisfying boom (or traded on one of the online auction sites). But that rule is most pertinent when the discovery of new music is the listener's only goal. Most of us want our hi-fi components to also be attractive, well-built, versatile, and user-friendly; we want them to represent good value for our hard-earned money; and we would appreciate it if they stuck around for a while, rather than have to be too soon replaced by something new and "better."
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Despite What You've Heard, Jazz Lives

On this page in the May 2011 issue of Stereophile, Steve Guttenberg became the latest in a long line of prophets of doom who periodically announce that jazz is deceased. Guttenberg argued that "Digital audio mortally wounded recorded music's creative mojo in 1982" and was "stifling creativity in rock and jazz."

I bring glad tidings to Stereophile readers. When it comes to jazz, Guttenberg is dead wrong. The jazz art form today is rich, diverse, deep, and international.

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Recording of December 2011: All We Are Saying . . .

Bill Frisell All We Are Saying . . .
Bill Frisell, guitar; Jenny Scheinman, violin; Greg Leisz, pedal steel guitar; Tony Scherr, bass; Kenny Wollesen, drums
Savoy Jazz SVY17836 (CD). 2011. Lee Townsend, prod.; Adam Blombert, prod. asst.; Adam Munoz, eng.; Greg Calbi, mastering. AAD? TT: 68:12
Performance ****
Sonics *****

How do you escape the pressures that come with making a record of well-known John Lennon tunes, many of them from archetypal Beatles songs? Convene a quartet of longtime bandmates, each a skilled instrumentalist with whom you've played this material before—albeit not in a while—and just hang loose, let the ideas flow, and jam up beautifully recorded, feel-no-heat-from-the-classic-originals versions whose rough charms somehow seem exactly right. Oh yeah, and bring in pedal-steel wizard Greg Leisz to put an evocative, legato tang on the whole thing.

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Medeski, Scofield, Martin & Wood

Most jazz musicians who try to rock out come off lame. Most rock musicians who dig into jazz sound pathetic. Medeski Martin & Wood have long straddled both camps with authenticity. Or actually "fused" is the better word; in fact, they're among the very few rock-jazzers, another being Miles Davis at the top of that game, who turn "fusion" into a tasty term.

On their latest album, the trio are joined by guitarist John Scofield, not as a sideman (as MMW were on his A Go Go from 1998) but as a fully insinuated member of the band, which is thus called MSMW. The double-disc album's (appealingly insouciant) title is In Case the World Changes Its Mind (on the Indirecto label). It was recorded live at various spots on their 2006 tour. It's the best thing any of them have done, together or apart, in years.

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