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James Tanner, VP of marketing at Bryston Ltd., was frustrated. He'd borrowed a Music Vault 4000 music server to play high-resolution digital music files at Bryston's exhibit at the 2009 Consumer Electronics Show. Most of the time, the server delivered some of the best sound at that event. The rest of the time, there were dropouts and crashes. Tanner later experienced similar dropouts and crashes when he streamed hi-rez digital files over his home network to a Bryston BDA-1 digital-to-analog converter (see my review in the February 2010 issue).

I found a more relaxed Tanner at the 2010 CES. This time, he'd borrowed an Auraliti L-1000 digital file server ($3000 at www.auraliti.com), a box with no front-panel controls, no display, no hard drive, no fans, and no CD drive. Instead of a Windows operating system, the L-1000 ran a stripped-down version of the Linux open-source operating system. Its simplicity of design solved the reliability problems Tanner had encountered the year before.

Then and there, Tanner decided to ask Auraliti to help Bryston create a simple digital music file player. The result is the BDP-1.

This story originally appeared at InnerFidelity.com

According to a February 2011 NPD Group study, celebrity endorsements are extremely/very important to nearly 30 percent of consumers when deciding what headphones to buy. Moreover, there was a 75% increase in sales of headphones over $100 from 2009 to 2010 ... in a bad economy, no less. Headphones are a hopping commodity.

So sure, why not nab a big name like Quincy Jones and extend the life into an aging, but still very good headphone.

The Southern California headquarters of cable manufacturer AudioQuest, which includes their offices, a listening room, conference rooms, a very very large warehouse, assembly rooms, a graphic design room, a few kitchens and various and sundry other more mundane but just as important places, is within a few-minutes’ drive from T.H.E. Show at Newport Beach. Shane Buettner, AudioQuest's Director of Education who you will most likely recognize as the former Editor-In-Chief of Home Theater magazine, Joe Harley VP of AudioQuest (Joe Harley is also a recording engineer/producer responsible for among others the Blue Note 45rpm reissues from Music Matters and he's a musician), and Andrew Kissinger, Regional Sales Manager, gave a group of A/V journalists, including Tom Norton, Senior Editor and Video Technical Editor of Home Theater magazine, the full tour.

My comments on the tour/AudioQuest facility can be summed up by saying that this is one of the most organized, clean, neat and tidy places I've ever seen. And it's not the kind of organized, clean, neat and tidy you can fake for a tour. From the huge warehouse to the tiniest Ziplock baggy, everything had its place and label. Impressive.

Do you own any warped records? I do, unfortunately. It’s always a major disappointment to find that a promising new record is warped. You could take it back to the store, of course, but who’s got time for that? Most often, I wind up keeping those sad, warped records, but I rarely play them. No fun, no fun.

I’ve often wondered about the Furutech Disc Flattener, but $2000 is a lot of money to spend on what is, essentially, an accessory.

So, I’m anxious to learn more about the new Vinyl Flat Record Flattener ($129.95). From the website:

The July 2011 issue of Stereophile is now on newsstands. A quick look at the cover should tell you a lot about what the issue has to offer: New speakers from Sony, Thiel, Rethm, Audience, and Harbeth; integrated amplifiers from NAD, Micromega, and JoLida; digital file players from Decibel, Pure Music, and Amarra; a state-of-the-art preamplifier from Ypsilon; a new set of Robert Johnson 45rpm discs.

In order to put together an interesting and competitive issue, John Atkinson strives to create a magazine that he would want to read. Taking a look at this issue’s cover, I feel fairly certain that were I to come across it on some newsstand, I would pick it up, flip through its 140 pages, take it over to the cash register, plop down the $6.99, take the lovely thing home with me, and devour it.

You?

"Blondy watched this proud, drum-tight personality fidget past him on the street and began projecting; he couldn't help it: an unfinished degree in journalism, concerned married sisters in New Jersey or Connecticut (but probably New Jersey), weights but no cardio, aggrieved blind dates, Cigar Aficionado and Stereophile, takeout menus, acres of porn." —from "Lucky Alan," by Jonathan Lethem; The New Yorker, March 19, 2007

When did being interested in hi-fi lose its cool? When did it become antisocial? One minute hi-fi was hanging with Hef center-stage in a groovy bachelor pad, and the next thing you know it's a prop used to describe someone who "walked in a fiery aura of loneliness," as Lethem described it. I ask because I'm genuinely concerned. Some of my best friends are audiophiles. But it seems that if you want to be anything related to music, the last thing you want to be is an audiophile.

Jordi Savall: Dinastía Borja
Music by Guillaume Dufay, Josquin Des Prez, Lluis del Mila and others Jordi Savall, viola da gamba, director; Hespèrion XXI, La Capella Reial de Catalunya
Alia Vox AVSA 9874A/C (3 SACD/CDs). 2010. Jordi Savall, prod.; Toni Figueras, recording coordinator; Aline Blondiau, Nicolas de Beco, Dominique de Spoolberg, Olivier de Spoolberg, recording assistants. AAD? TT: 3:43:19
Performance *****
Sonics *****

As is usually the case, a recent performance at New York's Lincoln Center by Jordi Savall, his instrumental ensemble, Hespèrion XXI, and his choir, La Capella Reial de Catalunya, was a triumph—his impeccably researched and realized early music had the crowd on their feet. In lesser hands, such exotica as old-world Spanish music influenced by indigenous forms from Mexico would have trouble drawing a paying crowd, let alone filling Alice Tully Hall; but Savall's unique vision has rescued and revitalized obscure musical forms aplenty, from the medieval, renaissance, and baroque periods. Along the way he's also managed to record notable versions of more popular works of the standard classical repertoire, such as the Mozart Requiem, and J.S. Bach's Brandenburg Concertos.