The people at Manhattan high-end audio retailer <A HREF="http://www.stereoexchange.com/">Stereo Exchange</A> know how to throw a party. They proved it back in April with their <A HREF="http://blog.stereophile.com/stephenmejias/spring_fever_at_stereo_exchan… Fever event</A>, and they look to surpass the success of that outstanding evening with their 25th Anniversary Celebration, this Thursday, November 5, from 3–9pm.
The people behind <a href="http://atochadesign.com/index.html">Atocha Design</a> want you to get your records off the floor. Hmm, have they been snooping around my apartment? Have they seen the ever-expanding mess of vinyl propped up against footstools and bookshelves? I want to get my records off the floor, too. (Help.)
<i>A gang of Giyas prepare to stick it to a Steinway.</i>
During an Audio Engineering Society meeting where a former colleague of mine was giving an arcane technical discussion of the optical considerations of data retrieval from a Compact Disc, a longtime AES member whispered to me: "What happened to the good old days of AES meetings when we talked about things like tape bias and saturation?"
Okay, here you are: You're a Real World music lover trying to sling together a Real World hi-fi rig. You gotcha budget-king NAD/Rotel/JVC/Pioneer CD player, your SOTA Comet/Sumiko Blue Point analog rig, and your cool-man NHT/PSB/Definitive Technology entry-level speakers. Hell, you've even gone out and bought a few pairs of Kimber PBJ interconnects to hook it all up. This ain't no dog and pony show—you want that High-End High, not just some cheap'n'cheerful, low-rez rig to stick in the rumpus room so the kids can listen to that weak-ass, <I>faux</I>-grunge, watered-down Hendrix-howl that modern-day wimp-boys like Pearl Jam dish out to anyone under 30 who doesn't know any better.
Audiophiles pride themselves on their love of music, but it may turn out that their kids or spouses buy more music than they do. Who buys the most music in your household?
Gracing the 5th floor lobby of Jazz At Lincoln Center for another few months is an exhibition of the great photographer Herman Leonard, whose images of jazz musicians at work deserve the overused term “iconic.”
John Surman, a saxophonist of jazz, folk, church, and avant-garde influences, has been a longtime denizen in the ECM stable without gaining much renown. When he recently played at a New York club, leading a rhythm section of guitarist John Abercrombie, bassist Drew Gress, and drummer Jack DeJohnette, he acknowledged to the crowd that he was the only player who needed introducing.
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be Coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
Ever since <I>Stereophile</I> took up the cudgels for subjectivity, and had the temerity to insist that even the best products have certain colorations, we have stressed compatibility in choosing components. By compatibility we do not mean merely matching impedances and signal levels, but mating components whose sonic peculiarities tended to offset one another.