John Atkinson  |  Mar 07, 2004  |  First Published: Dec 01, 1990  |  0 comments
Jitter is not what digital sound quality induces in the listener; rather it is the instability in the clock signal that controls exactly when the analog waveform is sampled in the original A/D conversion, or when the digital word input into a DAC results in an analog voltage being produced at the chip's output. "So what?" is the response of digital advocates, "As long as a digital one is recognized as a one and a digital zero as a zero, then how can there be any difference in sound?" goes their argument, normally culminating in a fervently expressed "Bits is bits!"
Barry Willis  |  Mar 01, 2004  |  0 comments
In late February, many California music fans discovered in their mail a one-page form letter from the state's attorney general, Bill Lockyer, announcing that he was "pleased to enclose payment for your claim in the settlement of the Compact Disc Minimum Advertised Price Antitrust Litigation." Attached to the bottom of the form letter was a tear-off check made out to the aggrieved music fan from "CD MAP Antitrust Litigation" in Faribault, MN.
Barry Willis  |  Mar 01, 2004  |  0 comments
In its nearly two decades, Benicia, CA–based loudspeaker manufacturer NHT has earned a well-deserved reputation for affordable high-performance products, among them legendary mini-monitors, such as the Super Zero and Super One, as well as its full-range Model 3.3. Founded by Ken Kantor and Chris Byrne in 1986, the company was sold to Jensen International in the early 1990s, spun off to packaged goods specialist Recoton, and acquired by Rockford Corporation in the final days of 2002—an event that saved NHT from an uncertain fate.
Stereophile Staff  |  Mar 01, 2004  |  0 comments
John Atkinson headed to the Midwest last year to record another audiophile disc. In Deep River: the Cantus Spirituals Project, JA describes the process of capturing a chorus of male voices with high-rez digital equipment. Atkinson notes, "Presented with the magnificent acoustic of Sioux Falls' 1500-seat Washington Pavilion of the Arts & Sciences, the question facing me was how to present what are still fairly intimate works while taking advantage of that supportive acoustic."
Jon Iverson  |  Mar 01, 2004  |  0 comments
A recent online poll indicates that a majority of Stereophile's online readers still don't like the idea of using computers when it comes to enjoying music. If a new report accurately predicts the future, they might as well get used to the rest of the world's booting up their tunes.
Jon Iverson  |  Mar 01, 2004  |  0 comments
What ails the music business? Stereophile reader Jim Steel, in an online poll last year, opined, "Most of today's pop and metal is lifeless, heartless, and crude. Over-produced, synthetic, and the core product (songs) are mind-numbingly dull and without imagination."
Chip Stern  |  Feb 29, 2004  |  First Published: Oct 01, 1999  |  0 comments
The women in my family and extended circle of friends are generally captivated by good sound, but are often appalled by the brutish, monolithic packaging that passes for "styling" in high-end gear. "Not in my living room," is the refrain, often played in a minor key.
Michael Fremer  |  Feb 29, 2004  |  First Published: Jul 01, 2001  |  0 comments
With its high-end heart and home-theater brain, Chord's powerful CPM 3300 integrated amplifier ($9500 with the aluminum-cylinder Integra leg option, $8950 without) is a uniquely fascinating audio product well worth considering. High-tech innards and magazine-cover good looks don't hurt either, but what originally got me interested was the superlative sound Chord products have consistently delivered at trade and consumer shows when paired with Wilson-Benesch loudspeakers.
Michael Fremer  |  Feb 29, 2004  |  First Published: Feb 01, 2001  |  0 comments
The old advertising jingle "Who put eight great tomatoes in that itty-bitty can?" bubbled through my head as Musical Fidelity's Antony Michaelson proudly unboxed the new $4500 M3 Nu-Vista integrated amplifier. How did they cram it all in there?
John Atkinson  |  Feb 29, 2004  |  First Published: Mar 01, 2004  |  0 comments
When Cantus's artistic coordinator (and Stereophile reader) Erick Lichte phoned me in the summer of 2000 about my recording this Minnesotan male-voice choir, it didn't occur to me that I was entering a long-term relationship. But just as sure as 16-bit digital is not sufficient for long-term musical satisfaction, my first Cantus CD led to a second, and now a third. (All available from this website). For Deep River, I traveled to Sioux Falls, South Dakota, where the city has spent millions of dollars to transform the downtown high school into a gloriously warm-sounding, state-of-the-art performing arts center.