Paradigm Premieres a Trio of Premier Series Speakers at Audio Advice Live 2026
Bowers & Wilkins Stands Tall at Audio Advice Live 2026
Steinway Lyngdorf Mounts Up at Audio Advice Live 2026
Playback Distribution Presents a Grand North American Vienna Acoustics Loudspeaker Debut at Audio Advice Live 2026
Focal Attains Utopia at Audio Advice Live 2026
The Top Turntables, Tonearms, and Cartridges of SouthWest Audio Fest 2026
Rega's Royal Analog Experience at Audio Advice Live 2026
See How the Degritter Mark II Ultrasonic RCM Cleans an LP!
Cambridge Audio Rocks and Rules in a Fidelity Imports Room at Audio Advice Live 2026
Fyne Audio and Harmonia Distribution are in Fine Harmony at Audio Advice Live 2026

LATEST ADDITIONS

Sonus Faber Cremona Elipsa loudspeaker

It is the audio writer's nightmare that the combination of the large number of exhibitors at a Consumer Electronics Show and the very limited amount of time the Show's doors are open will lead him to miss the event's biggest story. I came close to living that nightmare last January, at the 2007 CES, when I realized that I had missed an entire floor of Las Vegas's Venetian Hotel. And it was, of course, the floor where, among other high-profile high-end companies, Sumiko was debuting the Cremona Elipsa from Italian speaker manufacturer Sonus Faber.

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Vandersteen Quatro Wood loudspeaker

<A HREF="http://www.stereophile.com/interviews/688vandersteen">Richard Vandersteen</A> was in good form at the 20th-anniversary seminar held by retailer Advanced Audio on November 11, 2006. When asked about his priorities in loudspeaker design, he sat erect in the seat next to me and thundered, "I will <I>not</I> [<I>slams table with open hand</I>] spend one red cent on cosmetics that I could have put into improving the sound of a loudspeaker!"

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Anniversaries, Appreciations, Aleatorics, & an Apology

It was the strangest feeling: to be part of something yet without any understanding of how what I was doing fit into the whole. Back in the early 1980s, I had graduated from playing miscellaneous instruments in an early-music ensemble to devoting myself to the recorder (the end-blown fipple flute, not the audio archiving machine). My teacher, Nancy Winkelmann, had introduced me to various ensembles, and one Saturday afternoon, an ad hoc group of us was working with a composer of so-called "aleatoric" music; literally, music by chance.
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