Sonus faber Announces Amati Supreme Speaker
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Sponsored: Pulsar 121
CH Precision and Audiovector with TechDAS at High End Munich 2025
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Marantz Grand Horizon Wireless Speaker at Audio Advice Live 2025
Sponsored: Symphonia
Where Measurements and Performance Meet featuring Andrew Jones
High End Munich: Audio Reference "Most Exclusive System Ever" with Wilson and D'Agostino
Sponsored: Symphonia Colors

LATEST ADDITIONS

Recording of June 1983: Magnum Opus

683rotm.jpgJAMES WELCH: Magnum Opus
James Welch, Organist, and D.A. Flentrop, Organ-builder.
Wilson Audio W8111 (LP). David Wilson, eng.

Hearing this organ gives one delusions of grandeur! How wonderful to be rich as Croesus and be able to commission an organ like this for one's (baronial) home. At any rate, those of us who don't live in Seattle can hear it at home, thanks to this superb recording.

True to its title, this is as much a recording of the organ as it is of the organist. Full specifications are given on the back, and although it is not Flentrop's largest organ in terms of number of ranks of pipes, it is physically the largest: it contains a 32-foot Pedal Prestant which emits a floor-shuddering 16Hz!

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Video: Juliana Barwick's "The Harbinger"

Julianna Barwick has released a live video for “The Harbinger,” from her new album, Nepenthe.

Curiously, the album version always&#151always&#151reminds me of the opening chorus to The Rolling Stones’ 1969 hit, “You Can’t Always Get What You Want.” Here, though, whatever hint of triumphant rock’n’roll that may exist in “The Harbinger” is replaced by the impressionistic strokes of cold, windblown colors and sheer textures. We hear the crunch of gravel beneath footsteps, the lapping of waves, sniffles, the chimes of an iPhone&#151all of these elements are captured, looped, and folded into the piece.

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Ray Dolby, 1933–2013

Photo: Dolby Laboratories

We are saddened to learn of the passing of inventor and audio entrepreneur Ray Dolby. Other sites have published full obituaries; I'd like simply to offer my memory of interviewing Ray back in the spring of 1977 for the English magazine Hi-Fi News, when Dolby Laboratories were trying to get the BBC interested in using Dolby noise reduction in FM broadcasting. Despite my being a neophyte audio writer, I was treated with courtesy and respect by a man who had forgotten more about audio engineering than I knew.

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Volcano Choir: Repave

Volcano Choir’s sophomore record, Repave, was released by Jagjaguwar on September 3rd. Justin Vernon of Bon Iver returns as lead vocalist.

I was disappointed by the band’s 2009 debut, Unmap, which felt more like a Bon Iver side project, made of fragments and sketches that promised greatness&#151and had some great moments&#151but rarely delivered the kind of focused and resolved songs that I had hope for. I liked Unmap, but I wanted to love it&#151and I didn’t.

Repave, though, is something different. If Unmap was the sound of a band finding its way, Repave is a band that has arrived, fully formed and full of joy. There’s an interesting story behind the making of Repave, which you can hear in this ten-minute documentary.

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VPI HW 16.5 Record Cleaning Machine from Soundstage Direct Sweepstakes

Register to win a VPI HW 16.5 Record Cleaning Machine from Soundstage Direct (MSRP $649.99) we are giving away.

According to the company:

The HW-16.5 is the standard in affordable record cleaning machines but neither its build quality nor its cleaning power has been compromised. Its high-torque, 18 RPM turntable motor is more than capable of withstanding the pressure of heavy scrubbing during extended cleaning sessions, and its 35-second cleaning cycle per side makes quick work of even the dirtiest records. Now with self aligning vacuum suction tubes for even more accurate cleaning, the HW-16.5's high-powered vacuum ensures quick, deep cleaning.

[This Sweepstakes is now closed]

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Harry We Hardly Knew Ye

The worlds of creating and selling music have never been in such a dramatic state of change. While the CD declines, the LP is resurrected. As piracy charges along undiminished, downloads continue to increase in sales. And then there’s streaming….
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Lamm Industries ML3 Signature monoblock power amplifier

Even as the gulf narrows between the sounds of the best solid-state and the best tubed amplifiers, most listeners remain staunch members of one or the other camp. Similarly, when it comes to video displays, the plasma and liquid-crystal technologies each has its partisans, though that conflict's intensity is relatively mild, perhaps because video performance, unlike audio, is based on a mastering standard that establishes color temperature, gray-scale tracking, color points, and the like (I'm deeply in the plasma camp). But in audio, the "standard" is whatever monitoring loudspeaker and sonic balance the mastering engineer prefers, which makes somewhat questionable the pursuit of "sonic accuracy." Still, in a power amplifier, a relative lack of coloration is preferable to amps that Stereophile editor John Atkinson has characterized as "tone controls"—usually, if not exclusively, of the tubed variety.
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Sony SS-NA2ES loudspeaker

The door to a professional reviewer's listening room is one that revolves: As one product leaves, another enters. After a while, it becomes difficult to remember exactly when you auditioned any specific component. But some products stick in your memory—you fondly remember the time you spent with them, and wish they hadn't departed quite so quickly. With loudspeakers, I recall a few such: Revel's Ultima Salon2 ($22,000, footnote 1), MBL's 111B ($17,000), Dynaudio's Confidence C4 ($16,000), Sonus Faber's Amati Futura ($36,000), Vivid's B1 ($14,990), TAD's Compact Reference CR1 ($40,600 with stands), and even the much less expensive Harbeth P3ESR ($2195–$2395) and KEF LS50 ($1500). Among the most recently reviewed of those fondly remembered speakers is Sony's SS-AR2ES ($20,000).
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Audience ClairAudient The One loudspeaker

As the years pass and I turn into a crotchety old man, I'm reminded of those old TV ads for the Honda Accord: "Simplify." Even though I now have more things going on than at any other point in my life, I try to eliminate complications everywhere I can. I now can't believe that, for over 15 years, I used the Infinity RS-1B as my reference loudspeaker. Sure, I loved it—the RS-1B was the first speaker I'd owned that produced a wide, deep soundstage, the full dynamic range of an orchestra, and bass extension down to 25Hz. But it was ridiculously complex: a five-way design with three different driver types and a servomechanism for the woofers. It also required biamplification—I got the best sound with a combination of high-powered tube amp and high-current, solid-state amp.
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