LATEST ADDITIONS

Wes Phillips  |  Jul 19, 2004  |  1 comments
The oldest verified surviving recording is an 1878 tin cylinder of a talking clock (you can hear it at tinfoil.com/cm-0101.htm). There's just one problem, however; the recording's surface noise is so pronounced that you can barely hear the featured attraction. Chalk it up to age, imperfect recording media, poor storage, or even to the ravages of mold, but the facts remain the same—we're in danger of losing our audio patrimony: the hundreds of thousands of historical recordings from the dawn of recording.
Wes Phillips  |  Jul 19, 2004  |  0 comments
On July 11, Kevin Britten of Hays, Kansas downloaded the 100 millionth song purchased from Apple's iTunes music store. Britten spent 99¢ for "Somersault (Dangermouse remix)" by Zero 7 and, in exchange, won a 17" PowerBook, a 40GB iPod, and a gift certificate entitling him to 10,000 iTunes songs (the approximate capacity of a 40Gb iPod). As Apple counted down to 100 million, it also gave "special 20GB iPods" to the consumers who downloaded each 100,000th song between 95 million and 100 million.
Jon Iverson  |  Jul 19, 2004  |  First Published: Aug 01, 2004  |  0 comments
Since it has been five years since the debut of SACD, one might think that the debate as to where it fits within the audiophile food chain would have been put to rest. But as with most things audio, reality conspires to make rational comparisons between formats tough. One is never sure if two releases on different formats have been rendered from the same source, or, as we discovered with the recent Dark Side of the Moon hybrid SACD, from completely different masters.
Stereophile Staff  |  Jul 19, 2004  |  0 comments
Stereophile's John Atkinson teams up with world-renowned recording engineer Tony Faulkner to create a landmark Mozart recording that has just been released simultaneously on hybrid SACD/CD, and LP. In Project K622, JA recounts the entire process, noting, "The upbeat is the most magic moment in classical music making."
Jon Iverson  |  Jul 19, 2004  |  0 comments
Tube fans might want to get their passports in order. We've received word that the European Triode Festival 2004 (ETF.04) will take place in Langenargen, Germany in December. The festival, which describes itself as "a gathering of tube audio hobbyists and professionals," says it will host participants from all over the world.
Gerald Neily  |  Jul 18, 2004  |  75 comments

Reader Gerald Neily is curious about the control issues our readers have. He would like to know if you use a remote with your audio system, and if so, how do you use it?

Does your system have remote control?
Yes, it's essential to me and doesn't affect the sound
49% (84 votes)
Yes, it's essential, even though the sound is degraded
1% (1 vote)
Yes, a possible sacrifice in sound quality is worth it
8% (14 votes)
Yes, it's nice, but I'd give it up for better sound
6% (11 votes)
Yes, other
13% (22 votes)
No, but I'm considering it
5% (8 votes)
No, I'm afraid it would affect the sound
5% (8 votes)
No, it's an unnecessary frill
9% (15 votes)
No, other
6% (10 votes)
Total votes: 173
Art Dudley  |  Jul 18, 2004  |  First Published: Jul 01, 2004  |  0 comments
When we last heard from Englishman Tim de Paravicini, whose EAR 890 amp I reviewed in Stereophile's April 2004 issue, the veteran audio designer suggested that he could make a transistor amplifier equal in performance to any of his successful tube designs. Whatever else it may be, the new EAR 324 is my first chance to test that claim: a stereo phono preamplifier without a single tube in sight. It isn't TdP's first all-solid-state product: That would be the line-plus-phono EAR 312 preamplifier, introduced to no small fanfare a little over three years ago. For all intents and purposes, the 324 is a standalone version of the phono section of that $18,000 flagship: The designs are virtually identical—excepting, of course, their casework and power supplies.
Paul Bolin  |  Jul 18, 2004  |  First Published: Jul 01, 2004  |  0 comments
Consider the plight of solid-state muscle amps. Often derided as brutes lacking sophistication or subtlety, particularly by the SET set (ie, fans of single-ended triodes), these powerhouses are taken for granted and often, like Rodney Dangerfield, they get no respect. And once upon a time, the stereotypes were true. Every veteran audiophile has at some time heard an immensely powerful transistor amp that had the soft sonic allure of a sheet of sandpaper, a lumbering oaf of a component with nothing whatsoever to recommend it save for a bulging set of mighty moose muscles.
John Atkinson  |  Jul 18, 2004  |  First Published: Jul 01, 2004  |  0 comments
"Commoditization leads to the death of a specialty industry!" Hearing this at what I'd anticipated would be a sleep-inducing seminar on marketing, I pricked up my ears. The speaker was management guru Tom Peters, author of the best-selling In Search of Excellence and The Pursuit of WOW!. "Once your product is commoditized, all that is left to compete on is price," Peters continued, as I frantically scrawled down his comments, "and a small company will always lose to the big guns on price!"
John Atkinson  |  Jul 18, 2004  |  First Published: Aug 01, 2004  |  0 comments
The upbeat is the most magic moment in classical music making. Before the conductor brings down his baton for the downbeat, anything and everything are possible in the musical journey that is about to begin. And the upbeat to Mozart's sublime Clarinet Concerto that conductor Robert Bailey was about to give in London's Henry Wood Hall last November gave me an extra frisson—as producer of the recording sessions, I would have to pronounce instant judgment on everything I was about to hear.

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