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

Stereophile's Products of 2014

The December issue is here and it features our annual "Products of the Year" (cutely referred to as "PotY" in-house). 67 products made it through to the final round of voting from the magazine's editors and reviewers—read Art Dudley's comments to find out who the winners are.
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Credibility Gap

To audiophiles who are aware that their household line voltage changes under varying loads, and have observed the absolutely fantastic differences in the sound of their system when the next-door neighbor turns on Junior's night light, it may come as a surprise to learn that there are folks out there who think you're full of crap. That's right, Virginia, they don't think you can really hear all those things you pretend to hear. (You are only pretending, aren't you?) They can't hear all those things, so how can you? Well, sometimes they can. They'll even admit that. But those tiny little differences are so trivial that they don't matter no more than a fruitfly's fart. That's the word in scientific circles these days. Or haven't you been following the "establishment" audio press lately?
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Absolute Phase: Fact or Fallacy?

Natural sounds produce different waveshapes during their positive and negative phases, and playback-system polarity reversal often changes the reproduced sound. Does this mean our ears are phase-responsive, or is there something else here we've been overlooking?

There has been much discussion recently among perfectionists about the importance of what is called "absolute phase" in sound reproduction. Basically, the contention has been that, since many musical sounds are asymmetrical (having different waveforms during positive and negative phases), it is important that a system make the proper distinctions between positive (compression) and negative (rarefaction) phases in playback.

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Recording of August 1983: West Side Story

883rotmwest.250.jpgAndre Previn and His Pals: West Side Story
Andre Previn, piano; Shelly Manne, drums; Red Mitchell, double bass.
Mobile Fidelity Sound Lab MFSL 1-095 (LP). Lester Koenig, prod. TT: 38:16

Aaron Copland has called jazz "contemporary chamber music," and this is certainly true of these improvisations by Previn and his friends. I consider this chamber jazz at its best, varying in mood and tempo but never losing interest. The program consists of eight variations on themes from Bernstein's well-known musical, and includes "Maria," "Jet Song," "I Feel Pretty," and "Something's Coming."

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Vanatoo Transparent One Speakers Sweepstakes

Register to win a pair of Vanatoo Transparent One Speakers (MSRP $499.00) we are giving away.

According to the company:

"The Vanatoo Transparent One powered speakers set a new price/performance benchmark in the audiophile world. They produce unexpectedly great sound quality (honest, tight bass down to 48Hz!) from small bookshelf speakers that give you a lot of flexibility in how you use them. They are equally at home as a desktop audio system, a music streaming solution for a room where you want music but not stacks of equipment, or as a compact system you take with you on your weekend getaways."

[This Sweepstakes is now closed.]

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Music in the Round #69

It's August as I write this, and I'm looking back at some things that need to be discussed, and forward to the fall audio shows—particularly the 2014 New York Audio Show, which, by the time you read this, will have been held in Brooklyn, September 26–28. I grew up in Brooklyn, not in "the city," Manhattan, a place that we traveled to only for special reasons. Audio shops were rare in Brooklyn—I remember only Audio Exchange—but in Manhattan there was a small cluster near Grand Central Station, there was Lafayette Radio near the Holland Tunnel, a few scattered elsewhere, and the magnet of Liberty Street in lower Manhattan, where more than two city blocks were packed with audio shops.
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