LATEST ADDITIONS

Wes Phillips  |  Mar 12, 2007  |  0 comments
Stealing jokes is serious.
Wes Phillips  |  Mar 12, 2007  |  0 comments
Try to wrap your mind around the stats involving Toxoplasma gondii. The parasite makes rats seek cats, but is it also altering the cultures of entire nations? Skewing the sex ratios of affected populations? Doubling the chances of traffic accidents?
Wes Phillips  |  Mar 12, 2007  |  0 comments
Tom Watson picks the greatest cover versions of rock'n'roll and comes up with Patti Smith's "Gloria." Interesting choice. I might have gone with "Respect," myself.
Stereophile Staff  |  Mar 11, 2007  |  29 comments

And now the important question: What percentage of music in your collection is both great music <I>and</I> sounds great?

What percentage of music in your collection is both great music <I>and</I> sounds great?
100%
5% (6 votes)
90%
2% (2 votes)
80%
10% (11 votes)
70%
8% (9 votes)
60%
3% (4 votes)
50%
11% (13 votes)
40%
11% (13 votes)
30%
16% (18 votes)
20%
17% (20 votes)
10%
9% (10 votes)
Less than 10%
8% (9 votes)
Total votes: 115
Wes Phillips  |  Mar 11, 2007  |  0 comments
Wireworld: Wireworld has "completely redesigned" its Series 52 (pronounced "five squared") audio cables. Chief engineer David Salz says they deliver the "highest fidelity the company has ever offered."
Wes Phillips  |  Mar 11, 2007  |  0 comments
(This article has been edited to reflect factual changes and comments from our learned colleague, Dr. Kalman Rubinson, Associate Professor at NYU's Department of Physiology and Neuroscience, who is careful to point out that he is commenting, not on the research, which he has not read, but only Heimburg's and Jackson's criticisms of current understanding and terminology—areas with which he has more than a passing acquaintance.)
Jason Victor Serinus  |  Mar 11, 2007  |  0 comments
Marquis Classics, a Toronto-based CD label specializing in classical, jazz, world, and crossover recordings, recently issued its second batch of "Orion Master Recordings." Drawn from the large classical catalog of the defunct Orion LP label, the CDs include prized rare recordings by Robert Silverman, Steven Staryk, Joel Krosnick, Leonid Kogan, and other fine artists.
Kalman Rubinson  |  Mar 09, 2007  |  0 comments
One of the highlights of such annual events as the Consumer Electronics and Primedia Home Entertainment shows has been the demonstrations of loudspeakers from TAD, the professional division of Pioneer Electronics. Designer Andrew Jones is always generous in using recordings brought by visitors, and enthusiastic in explaining the technology behind these beautiful behemoths. Among these speakers' unique features are a beryllium dome tweeter mounted concentrically inside a beryllium midrange cone, and a cabinet built of stacked, carved horizontal sections, for incredible rigidity without using exotic materials or excessive mass. The concentric upper-range driver is a reminder that, some time back, Jones worked for KEF, where the coaxial UniQ driver was developed, but the materials and details of the TAD drivers are all new. While the TAD Model 1s are always good for musical and audiophile thrills, their price is in the upper five figures, which put them out of serious purchase consideration.
Art Dudley  |  Mar 09, 2007  |  0 comments
My plan was to begin by revealing the highest sum I've paid for a wristwatch. It wasn't very much, and that would have been the point.
John Atkinson  |  Mar 09, 2007  |  0 comments
I began writing this essay on New Year's Day 2007. The passing of the old year reminded me that I am now in the 21st year of editing Stereophile, my 25th of being the editor-in-chief of a mainstream audio magazine, and my 31st of working full-time as an audio journalist. (Prior to joining Stereophile in 1986, I had worked for 10 years at British magazine Hi-Fi News & Record Review, the final four as its editor.) Back in the innocent 1970s, reviewers and editors generally picked and chose what products to review based on their own interest and what they felt appropriate for their readers to know about. Back then, there was only a tiny fraction of the audio brands now available to the audiophile, and even with fewer review pages than we now have, it was possible each year to cover a representative sample of the products being offered our readers. But such was the explosion in high-end audio throughout the 1980s that, by 1989, I felt it necessary to impose some restrictions on what products we choose for full review coverage in Stereophile.

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