LATEST ADDITIONS

Instagram is the first app I check each day. What does that say about me? I certainly like pictures. I also enjoy keeping up with friends and family through images, seeing what they see each day, glimpsing a day in their lives. But, beyond that, I’m not sure.

Interestingly, more and more audio manufacturers are showing up on Instagram. I follow several, including:

Sunday, February 23, 12–5:30pm: Essential Audio (715 Braeside Place, Barrington, Illinois) will host an audio demonstration with Brian Zolner, president of Bricasti Design, for the grand opening of its remodeled, expanded facilities.

I've never been a mono-phile. Yes, mono is better than electronically reprocessed stereo. And yes, for some of the early stereo recordings, where the engineer smacked one of the horns in the left speaker and the other in the right, it's better to hear everyone in the center. And, finally, there are cases, most notably on many of The Beatles' albums, where the musicians supervised the mono mix and ignored the stereo, making the mono, in a sense, the authoritative version. But in general, those albums that were recorded in stereo, I prefer to hear in stereo.

But the latest excavation from the Miles Davis archive, The Original Mono Recordings, nine CDs of the nine albums made for Columbia from 1955–63, is an exception, a set worthy of attention—though not so much because the discs are in mono.

Ken Shindo, the Japanese audio designer whose electronics, loudspeakers, and accessories have influenced the parallel worlds of tube audio and analog audio, and who is shown above (right) with loudspeaker designer John DeVore, died late last month after a brief illness. He was 74.

Much as we audiophiles love a good format war—nothing like a dustup over the tactility of vinyl vs the convenience of downloads—not to mention all the ever-evolving gear, the base of this pursuit is still the music. Which is why February is the month least cruel, and time again for our annual "Records To Die For."

Erick Lichte's review of Benchmark's DAC2 HGC D/A converter in this issue gave me an ideal opportunity to spill some ink on the company's ADC1 USB A/D converter. The ADC1 is housed in the same small case as the DAC (one rack unit high, half the rack unit width), and is offered with a black front panel with rack ears, or a silver aluminum panel without ears, either for $1795.

In 1974, in England, Australian Reverse-Pommy pianist and recording engineer Billy Woodman founded the Acoustic Transducer Co. (ATC) as a maker of loudspeaker drive-units. That makes ATC a few years younger than Spendor (1969) and a few years older than Harbeth (1977). When I mentioned all that to a quick-witted audio buddy, he immediately came back with "Middle Child Syndrome!"