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LATEST ADDITIONS

Luxman B-1000F monoblock power amplifier

When Philip O'Hanlon of On a Higher Note, Luxman's US distributor, delivered the B-1000F monoblocks, it took three of us to wrestle their shipping crates into my house and then into the listening room. Once they were unpacked, it still took two of us to maneuver each of them into position—at 141 lbs and 16.9" wide by 11.6" high by 23.3" deep, the B-1000F is far from easy to shift. Fortunately, O'Hanlon had also brought along a pair of Stillpoint stands specifically made for the Luxmans; the B-1000Fs certainly wouldn't have fit into my equipment racks. (The Stillpoints are lovely things. I recommend 'em if you go for the B-1000Fs.)

When O'Hanlon told me the price of the stands—$2500/pair—I asked what the amps cost.

"Fifty-five," he said.

"You mean the stands are 45% of the price of the amps?"

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Wilson Audio Sophia Series 3 loudspeaker

Two years ago, I was drawn to the Wilson Audio Sophia Series 2—then as now, the company's entry-level floorstander—by its good reputation among lovers of low-power tube amplifiers. "Forget the specs," they said. "Sophia is the one to hear." In fact, with its 89dB sensitivity (slightly lower than most of Wilson's other domestic loudspeakers) and mildly challenging impedance curve (less daunting than those of its stablemates, but not by a lot), the Sophia seemed, on paper, no better than average for use with flea-watt amps. But when I tried a pair at home with my 25W Shindo Corton-Charlemagne mono amps, I was impressed: The Sophia Series 2 was, as I suggested in my "Listening" column in the February 2010 issue, the product that will forever mark Wilson Audio's progress toward not merely excellent sound but beautiful sound.
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Recording of February 2011: Markus Schwartz & Lakou Brooklyn: Equinox

Markus Schwartz, Haitian Rada & Petwo drums, miscellaneous percussion, loop sampler, conch, vocals; Jean Caze, trumpet, flugelhorn, conch, vocals; Monvelyno Alexis, electric guitar, percussion, vocals; Paul Beaudry, double bass, percussion
Soundkeeper SR1002 (CD). 2010. Barry Diament, prod., eng. DDD. TT: 43:16
Performance ****
Sonics *****

Think of flat, one-dimensional downloads of soulless, AutoTuned music that sounds more manufactured than played. Then feast on this.

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Music Matters

I began writing these words on December 1, 2010, 13 years to the day that the magazine's website, www.stereophile.com, emerged from the digital darkness. That first, 1997 edition of our website was to a large extent the brainchild of one man, webmonkey Jon Iverson, who ever since has overseen its design and growth.
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Road Trip!

Illustration: Jeff Wong

John Atkinson and I were On the Road, whistling down I-95 in a big, Kona Blue Metallic 2011 Ford Edge Ltd with voice-command everything. To paraphrase Raoul Duke at the very beginning of Hunter S. Thompson's Fear and Loathing in Las Vegas, we were somewhere around Princeton, New Jersey—not quite the edge of the desert—when the drugs began to take hold. Just as in the original text, "there was a terrible roar all around us, and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car . . ." I decided that there was no point in mentioning the bats to JA. He'd bought the Criterion Collection DVD of Terry Gilliam's film version of Fear and Loathing at Princeton Record Exchange. He knew about the bats.

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Hardcore Will Never Die, But You Will

Mogwai’s latest album, the band’s seventh full-length studio release, due in stores next Tuesday, February 15th, is called Hardcore Will Never Die, But You Will. I just found out about this today. Stephanie Scola of KEF told me because she knows I like Mogwai. Thank you, Stephanie. My reaction to this news was simple and unambiguous: With a name like Hardcore Will Never Die, But You Will, the album had already earned my blind and stupid love. That’s right: Before ever even hearing this record, I knew that I was going to own it and I was going to love it. That’s the kind of guy I am. If you didn’t already know, now you know. Maybe this changes your opinion of me, but I don’t care.
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Clogs at Merkin Hall with Shara Worden and the Brooklyn Youth Chorus

Clogs in the snow. Photo: Tamara Bogolasky.

Saturday, March 12, 7:30pm: Clogs, Shara Worden, and the Brooklyn Youth Chorus will perform at Merkin Concert Hall (129 West 67th Street, New York). The performance is part of Merkin’s inaugural Ecstatic Music Festival. Stereophile readers who have enjoyed John Atkinson’s 2007 recording, Attention Screen: Live at Merkin Hall (available here), will be familiar with the rich, inviting sound of the space.

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