How often do you visit a high-end audio dealer?
It's no surprise that high-end audio dealers are getting thinner on the ground. Even so, how often do you visit a high-end audio dealer?
LATEST ADDITIONS
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John Carter & Bobby Bradford
The latest 3-CD box in Mosaic Records’ Select series, <I>John Carter & Bobby Bradford</I>, is something of a revelation. I’ve heard several albums over the years by the two musicians separately, but never their collaborations of 1969 (as the New Art Jazz Ensemble) and ’71 (as John Carter & Bobby Bradford, though playing with much the same quartet), both recorded on the obscure Revelation label. Now here they are, reissued with unreleased takes and a whole unissued (unknown) duet session that was laid down in ’79.
Krell KSA-300S power amplifier
It was a dark and stormy night. A biting, cold wind cut through Sam's skimpy jacket; ice crystals clung tenaciously to his bushy moustache. As he approached his front door, visions of a toasty-warm, Krell-heated listening room softened the chill. He could feel the glow already; his Krell amp had been on all day, awaiting his return.
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Music in the Round #44
When I <A HREF="http://www.stereophile.com/musicintheround/854">started out</A> on my multichannel mission in 2000, it was with an all-digital <A HREF="http://www.stereophile.com/floorloudspeakers/201">Meridian system</A> that relied on lossy, compressed sources like the original Dolby Digital and DTS formats, or on synthesized surround based on Dolby Pro-Logic or Meridian's own TriField. With the appearance of first SACD and DVD-Audio and then Blu-ray, discrete lossless multichannel recordings became available, but there was no way to output those signals in digital form for interconnection to other components for playback or further manipulation. Most audiophiles, me included, already had analog preamps and power amps. It was only with the appearance of HDMI and the accompanying HDCP content protection that we could output those digital signals, and over a single cable to boot. Today, there are A/V receivers, some costing less than $500, and more than a handful of audiophile-oriented preamp-processors, that can accept such lossless high-resolution multichannel content as PCM, DSD, Dolby TruHD, and dtsHD Master Audio.
Book Review: Backstory in Blue
<B>Backstory in Blue: Ellington at Newport '56</B><BR>
by John Fass Morton, foreword by Jonathan Yardley. Rutgers University Press, 2008. Hardcover, 336 pages, 107 B&W photos. $34.95.
Recording of August 1989: Mahler: Das Lied von der Erde
<B>MAHLER: <I>Das Lied von der Erde</I></B><BR>
James King, tenor; Dietrich Fischer-Dieskau, baritone; Vienna Philharmonic, Leonard Bernstein<BR>
London (CD only). Gordon Parry, eng.; John Culshaw, prod. AAD. TT: 66:32
Oneohtrix Point Never: Returnal
Returnal (Editions Mego EMEGO 104), the fourth full-length release from Oneohtrix Point Never, explodes into the listening room (or out from the speakers or out from the headphones) with real violence and penetrating force. We are thrust into a heavy storm, a maelstrom; we find ourselves standing beneath an ocean of falling glass, falling sky, falling electronic haze. If instruments could scream, their screams might sound like this, like the opening few moments of Returnal, moments that don’t seem like an opening at all, but someplace else, some other time that escaped us, that started without us, before we were ready. I don’t mean scream in the way that guitars and saxophones and other instruments can and do scream. I mean that if instruments could be dealt such pain that they were brought to life, given sentience, to wail with wonderful suffering, it might sound like this, like the opening few moments of “Nil Admirari.”
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The 2010 CEDIA Show: Day 3
Looking back at the 2010 CEDIA Exposition, I was struck by a couple of new products which, I hope, presage a rethinking of modern electronics design. Today, the streaming of program content can be accomplished by TVs, by Blu-ray players, by dedicated servers and, for all I know, someone will put that capability into a speaker system. The result is that, unless one chooses very carefully, one will be buying the same technology redundantly. By contrast, high-end companies have striven to separate their dedicated analog/stereo products from their digital/multichannel products, forcing the very picky among us into a kludgy home-theater-bypass. Again, we end up buying more boxes and interconnections than should be necessary.
The 2010 CEDIA Show: Day 2
I start my second report from the 2010 CEDIA Exposition by returning to <B>MartinLogan</B>. As well as their $2000/pair ElectroMotion electrostatic hybrid that I described in my first report from CEDIA, the Kansas company showed the appealing new 2-way Theos. This hand-built floorstander combines a 9.2"-wide by 44"-tall XStat electrostatic transducer with a 8" aluminum-cone woofer in a bass reflex enclosure. Its large electrostatic radiator and passive woofer can be bi-wired or not with a unique tool-less binding-post design. At $5000/pair, the Theos will be the most affordable speaker in the Reserve Series of floorstanders.
The 2010 CEDIA Show: Day 1
Back in Atlanta's World Congress Center for the second year it is hot (around 90°F) and humid outside but it is cool at the 2010 CEDIA Exposition. On the very first full day, I found a slew of interesting new loudspeakers and that's despite having seen less than a third of the Show floor. Undoubtedly more will be discovered but it is great to say that all of the most intriguing new ones are relatively inexpensive.