Barry Willis  |  Jan 26, 2003  |  0 comments
Retailing can be a rough ride even in the best of times. In the current climate, it’s especially hard for those trying to make a go of it with recorded music.
Chip Stern  |  Jan 26, 2003  |  0 comments
Rogue Audio's Magnum Ninety-Nine tubed preamplifier is derived from the original Rogue Sixty-Six that I reviewed in October 2000. The Sixty-Six was designed to offer consumers a taste of high-end performance in a vacuum-tube line stage. By constrast, the Magnum Ninety-Nine's pedigree is pure audiophile, with a more sophisticated mu-follower circuit topology aimed at the purest expression of performance.
Brian Damkroger  |  Jan 26, 2003  |  0 comments
One of the nicest surprises at any audio show is encountering a new—to me, at least—manufacturer whose products seem to stand out from the competition. At the 2002 Consumer Electronics Show, one such standout was the Kirksaeter line of loudspeakers from Germany. I spent quite a few minutes listening to and enjoying the performance of these modestly sized and priced speakers, but since my writing assignment was electronics, I tucked the experience away in the back of my mind and moved on.
Art Dudley  |  Jan 26, 2003  |  0 comments
Modern hi-fi is little more than a way of getting electricity to pretend that it's music. Of course, good source components remain all-important, and even if loudspeakers are imperfect, most of us can find one or two that suit our tastes, if not our rooms and the rest of our gear.
John Marks  |  Jan 26, 2003  |  0 comments
The word chancellor derives, believe it or not, from the Italian word for wooden latticework, cancelli. In the church architecture of sixth-century Rome, a latticework screen demarcated an area near the altar where deacons or priests would stand, waiting to assist the principal celebrant as needed. In English, this area became known as the chancel. In consequence, a trusted assistant came to be known as a chancellor. In the High Middle Ages, that title was given to the cleric who would correspond on behalf of and maintain the archives for an important churchman, such as a bishop.
Barry Willis  |  Jan 19, 2003  |  0 comments
One of the more intriguing discussions we had at last week's Consumer Electronics Show (CES) was with Jim Weil of Berkeley, CA–based Sound Application.
Stereophile Staff  |  Jan 19, 2003  |  0 comments
With the February issue hitting newstands, it's time once again to honor those twirling discs that also made our heads spin, with "2002 Records To Die For." Stereophile's staff and writers all check in with their eclectic batches of musical heaven.
Barry Willis  |  Jan 19, 2003  |  0 comments
People are often unaware that they might benefit from industry- or union-sponsored funds or participate in class-action settlements. In early January, we were notified of a fund for session musicians with over $3 million still unclaimed, and of a procedure enabling consumers to collect a small share of the payout from the "MAP" (minimum advertised price) lawsuit that was settled by the music industry last year.
Jon Iverson  |  Jan 19, 2003  |  0 comments
The past year has been a busy one for Hilary Rosen, CEO of the Recording Industry Association of America (RIAA). She suffered a humiliating defeat at England's Oxford Union Debates, celebrated new agreements with Silicon Valley companies, and led her organization in the attack on file-sharing service Kazaa. Rosen and the RIAA have also attacked college kids and put pressure on universities to police their students.
Jon Iverson  |  Jan 19, 2003  |  0 comments
The digital music market balances on at least five legs: software producers, technology developers, electronics manufacturers, consumers, and regulating bodies. So, can a two-legged agreement stand? That's the question industry watchers are asking as representatives of two groups, the Recording Industry Association of America (RIAA) and the technology sector, announced that they have reached agreement on a "core set of principles" to guide their public policy activities regarding the distribution of digital content.