LATEST ADDITIONS

Stereophile Staff  |  Mar 19, 2020  |  49 comments
Commercial products listed here have been formally reviewed in Stereophile, and we have determined them to be among the finest available in each of four or five quality classes: Whether a component is listed in Class A or Class D (or E), we consider it to be a genuinely recommendable product.

Each listing, in alphabetical order within classes, is followed by a brief description of its performance characteristics and a note indicating the issue of Stereophile in which its review, and in some cases Follow-Up reports, appeared—ie, "Vol.42 No.6" indicates our June 2019 issue. And so forth.

Kurt Gottschalk  |  Mar 18, 2020  |  0 comments
Cooper, Cerrone, Pergolesi, et al: Afterimage
String Orchestra of Brooklyn, Argus Quartet, Melissa Hughes, Kate Maroney, Rachel Lee Priday
Furious Artisans facd6823 (CD). 2020. Emily Bookwalter, Eli Spindel, prods.; Ryan Streber, eng.
Performance ****
Sonics ****

If an orchestra is going to wait more than a decade before releasing its first record, it had better go big when it finally does—which is what the String Orchestra of Brooklyn has done. Afterimage includes compositions by Paganini (1782–1840) and Pergolesi (1710–1736) alongside works by Rome Prize winner Christopher Cerrone (b. 1984) and the less well-known Jacob Cooper (b. 1980).

Jim Austin  |  Mar 17, 2020  |  11 comments
Some Stereophile readers will surely remember—some may even have in their collections—Christian Marclay's 1985 vinyl release Record Without a Cover, surely one of the oddest records ever, right up there with the dying-rabbit record and the seven-inch single that's tinted yellow by the band's actual urine.
Jason Victor Serinus  |  Mar 15, 2020  |  86 comments
With the COVID-19–related cancelation of Munich High End and the postponement or cancelation of other national and regional audio shows, smaller, local events such as Seattle’s 15-year old Music Matters event, which returned to Definitive Audio Seattle on March 5–6, have gained importance—at least as long as they are able to avoid being shut down.
Corey Greenberg  |  Mar 13, 2020  |  First Published: Feb 01, 1992  |  13 comments
My first CD player was a Denon DCD-1800, the grandpappy of 'em all. It was big, clunky, and sounded like, well, you can read back issues to find out what it sounded like. But I was living in a fraternity house at the time, the kind of place where you wake up the next morning after a blow-out to find five plastic cups half full of stale margaritas merry-go-rounding on your turntable because whoever broke into your room during the party snapped your cartridge's cantilever off trying to hear the backwards messages on The Wall and decided to leave you an artistic message to buy a better needle next time, dude.
Jason Victor Serinus  |  Mar 13, 2020  |  First Published: Mar 12, 2020  |  4 comments
In a press release issued just a few minutes ago, the organizers of the Montreal Audiofest announced plans to reschedule their postponed show for 15–17 May, the original dates of the now-canceled High End Munich show.
Stereophile Staff  |  Mar 12, 2020  |  2 comments
Earlier today, the Montreal Audiofest announced that it would either be postponed or canceled, becoming the latest coronavirus-related casualty.
Phil Brett  |  Mar 12, 2020  |  22 comments
Few would have predicted that the Sex Pistols' first gig—in November 1975, at the Saint Martin's School of Art in central London—would be the start of an explosion of music. Not many even knew it was happening. That soon changed. Punk would create a space that other bands rushed to fill. Inspired by the DIY ethos and the rejection of the notion that pop music had to be a 30-minute conceptual track on the lives of elves, punk was just grab an instrument and form a band.
Art Dudley  |  Mar 11, 2020  |  23 comments
In the January 2020 Stereophile, I described my transformation from John Fahey skeptic to John Fahey fan; suffice it to say, the late guitarist was far from the only musical artist whose work I came to enjoy only after a number of failed attempts. Another was the English band Yes, which I saw in concert in 1977, at New York's Madison Square Garden: I was so bored by the many lengthy instrumental solos, each one remarkable only for the sheer number of notes being squirted at me, that I literally nodded off. (In my defense, it was also very warm in there.)
Michael Fremer  |  Mar 10, 2020  |  First Published: Jun 01, 2019  |  12 comments
Install a new component in your system and there's usually a period of adjustment as you get used to the difference in sound—especially if the new product costs much less than your reference. Channel D's new Lino C 2.0 balanced phono preamplifier costs $2499, yet my ears instantly accepted its combination of drop-dead, noise-free backgrounds and lack of obvious colorations or sonic personality. I didn't hear it—I heard only my Ortofon A95 cartridge, with which I'm well familiar, as amplified by far more costly phono preamps.

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