Apple AirPods Pro 3: First Impressions
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
Sponsored: Symphonia
Where Measurements and Performance Meet featuring Andrew Jones
Sponsored: Symphonia Colors

LATEST ADDITIONS

Audeze LCD-X headphones

I well remember my first "real" headphones: a pair of Koss Pro4AAs that I bought back in 1970. The Kosses were relatively expensive, but, like headphones today, they allowed an audiophile with limited cash to get a taste of high-end sound that was not possible with a speaker-based system. I bought the Pro4AAs because I had become fascinated with how the images of the instruments and singers were strung along a line between my ears inside my head. It seemed so much more intimate—a more direct connection with the music—than playback through loudspeakers.
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The Purpose of Music?

Way back when, I met this maenad woman at Caffe Reggio in Greenwich Village and told her I was an artist. She told me she was an art collector and invited me to her loft to see her collection. While she was showing me an impressive assortment of African and contemporary art, she was dropping names: William Burroughs, Bob Marley, John Cage, etc. Hmmm . . . really? I spoke up. "Oh, I love John Cage. What was he like?"
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Recording of March 2014: Concerts: Bregenz München

Keith Jarrett's gift for brilliant invention is apparently inexhaustible throughout both of these concerts, recorded five days apart in spring 1981. The combinations of lyricism, literally foot-stomping gospel, chordings and voicings alternately sumptuously lush and astringently lean, and unexpected musical destinations reached in surprising ways, are here at least as rich as anything else he's done.
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A Unique KEF Event

All photographs by Lily Szabo Photography and used with permission

Thursday February 13 was a day most of us in New York would have preferred to stay indoors. With 10” of snow falling since the night before, the Stereophile office closed, the roads in my neighborhood impassable, and public transport iffy at best, I really didn’t want to make the trek into Manhattan. But I did and was glad to have done so. English loudspeaker manufacturer KEF, represented by a team led by the company's brand ambassador Johan Coorg (above right), was promoting a unique event for the press at MSR Studios on 48th Street featuring legendary engineer and producer Ken Scott (above left).

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Unity Audio Signature 3

666unity3.jpgWhen I saw the Unity Audio Signature 3 speakers ($1895/pair) arrive in one box, I was happy. Not just because it meant there would be that much more space left in my basement. No, because it means that Unity is saving money on packaging costs. That means they can spend more money on things like super-nice crossover components. That means...well, I think you know what that means. After all, any piece of audio gear is only as good as the parts it's made from.

To get these overgrown bookends to stand up, you slide little black boards into the slots in their bottoms. Each board is held in place by two set screws, and sticks out to support the speaker with two of the four spikes. The board also tilts the speaker back a little. How do they get sufficient bass out of such slim cabinets?

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Squeezing the Music...

This essay first appeared in the May 2005 Stereophile eNewsletter. But as the opinions and comments are still relevant in 2014 and in some ways the phenomenon of over-compression in recorded music (footnote 1) is just as bad, I thought it worth republishing.—John Atkinson

I write these words mere hours after returning home from Home Entertainment 2005, the Show cosponsored by Stereophile magazine that took place from April 28 through May 1 at the Manhattan Hilton. A full report will appear in the August 2005 issue of the magazine.

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