It starts quietly enough, with a simple falling-fifth motif, but the first movement of Sergei Rachmaninoff's neglected Piano Sonata 1 develops into a work of epic proportions nearly 40 minutes in length, with haunting melodies, massive dynamic contrasts, and lush, sensual harmonies.
<B>Scene the First.</B> You are sitting in a concert hall, dead center, row M; the cellist walks on to the stage, sits down and starts to play the prelude to the first of <A HREF="http://www.stereophile.com/musicrecordings/1192yoyoma">Bach's solo cello suites</A>, that intricate unfolding of a rhapsodic melodic line within the tight framework of an implied chordal structure. Melody, harmony, rhythm—none exist at any one point of time in this most exquisite of Bach's solo instrumental writing, yet the skill of the composer, coupled with the artistry of the musician, allow you to perceive the abstract as reality.
If any single link in the audio chain should be free of sonic personality, it's the preamplifier. Though a preamplifier's basic job description is "source selector with volume control," from hi-fi's earliest days preamps have been the designated dashboard: the more dials, switches, and lights, the better. All that control came at the cost of quiet, transparency, and tonal neutrality. Still, the quixotic quest for the mythical "straight wire with gain" continued to lead to minimalist designs, including impractical unbuffered "passive" preamps, in which cable length, thus capacitance, affected frequency response.
They're saying five to seven inches in the city.
Although she'll deny it, my wife thinks ill of me because I've failed to buy her a new Mini Cooper. I can point to a number of things in my defense—especially the Mini's lack of all-wheel drive, which we need for climbing our quarter-mile driveway in bad weather, and its insufficient cargo and passenger space—all of which would constrain a Dudley-owned Mini Cooper to recreational use only. And a new round of car payments would be difficult to justify for those reasons: <I>not</I> because I'm cheap, and not because I'm too old to appreciate a car that's fun to drive.
As I was scrolling through the offerings at TDF a few weeks ago, I spotted a performance by the McCollough Sons of Thunder Brass Band. <I>Hmmm</I>, I thought I remembered my old friend Michael Cogswell mentioning to me that I ought to check them out. Actually, what he told me was that if I was ever able to hear them, I should cancel everything I <I>could</I> be doing and hie myself hence at oncely.
Received this fax today:
My ears had been bothering me. First my right, then the left. A low-level high-pitched ringing, followed by a congested feeling and a popping like what you get when flying or taking an elevator way up to the 29th floor. Then, one morning in Las Vegas while attending the <a href="http://blog.stereophile.com/ces2008/">Consumer Electronics Show</a>, my left ear went <i>whooooooooosh</i>. And my hearing was momentarily dulled—not completely gone, just dulled. Outside sounds were farther away, my own voice sounded distant and muffled. It freaked me out.
Bentley Motors, the 89-year-old, Volkswagen-owned manufacturer of bespoke luxury automobiles has decided that a high-end audio system would complete its definition of automotive excellence, choosing Salisbury-based audio manufacturer Naim to develop a "Naim For Bentley" system.
