LATEST ADDITIONS

Ken Micallef  |  Sep 27, 2018  |  0 comments
In 2015, the venerable Canadian audio company NAD introduced its soon-to-be-popular D 3020 integrated amplifier ($499), which combined 30Wpc output, streaming capability, and an onboard DAC in a slick, contoured case. NAD's latest D/A integrated also smartly combines trend with functionality, lifestyle convenience with technological advancement. The C 328 Hybrid Digital amplifier ($549) goes its older, smaller sibling a couple steps better in features, while reverting to NAD's traditional look: an unfancy box finished in a dark shade of matte gray with subtle white lettering and logo.
Art Dudley  |  Sep 25, 2018  |  6 comments
Those concerned that audio engineers on the whole are a meek lot, drawn to our hobby for its lack of physical mayhem, have clearly never met Jeffrey Jackson. The last time I saw him, he was wielding a rock the size of a small gravestone, applying it to the lock on a recalcitrant door in a series of blows that made me fear for the very fabric of reality. That this happened in glinty daylight in an industrial park with a steady stream of cars going by merely added to the sense of danger. Those concerned that motorists on the whole are lacking in vigilance would have had their fears confirmed: no one intervened, and Jackson succeeded in gaining entrance to his warehouse and auxiliary listening space.
John Atkinson  |  Sep 25, 2018  |  32 comments
I am finding hard to grasp that it is almost 50 years since I first went to a hi-fi show. That show, held at London's Olympia exhibition center, was notable both for Yamaha's launch of a loudspeaker with a speaker diaphragm shaped like a human ear, and for being the first time I saw the drop-dead gorgeous Transcriptors Hydraulic Reference turntable, which was later featured in the film A Clockwork Orange. The most recent show I attended was AXPONA, held last April in the Chicago suburb of Schaumburg. There I saw no ear-shaped drive-units, but the final room I visited featured sound that the 1969 me could have only fantasized about.
Jason Victor Serinus  |  Sep 22, 2018  |  3 comments
How many who love Bernstein's "popular" music—everything from On the Town and West Side Story to the final Arias and Barcarolles—have actually spent time with his three "serious," gravely introspective symphonies? Perhaps the best way to do so in up-to-date sound is to dive into Warner Classics' superbly annotated and recorded Bernstein: The 3 Symphonies from Antonio Pappano and the Orchestra, Chorus, and "Voci Bianche" of the Accademia Nazionale di Santa Cecilia. Together with excellent soloists, Pappano presents the three symphonies on two CDs, with options of a 24/96 download and hi-rez streaming in MQA on Tidal. The recording balances out Bernstein's three soul-searching introspections with the original version of Prelude, Fugue and Riffs for clarinet and jazz ensemble, which Bernstein initially conceived for the Woody Herman Band.
Jason Victor Serinus  |  Sep 20, 2018  |  9 comments
At a recent dealer event in Seattle, after being impressed by the musical rightness of an Audio Research Corp. LS28 preamplifier and VT80SE power amplifier driving a pair of Sonus Faber Guarneri loudspeakers, I spoke with ARC's Dave Gordon about reviewing one of the company's new amplifiers. Less than a month later, two ARC Reference 160M tubed monoblock amplifiers ($30,000/pair) were headed my way.
Kalman Rubinson  |  Sep 20, 2018  |  26 comments
Since its founding in 1982, Paradigm has developed and sold high-value loudspeakers. When my wife and I acquired our weekend house in 1992, I selected a pair of Paradigm Esprit/BP speakers for our audio system there. Shortly thereafter, however, I wanted to take my big step into multichannel, and it seemed that the Esprits' bipolar radiation would present problems for multichannel sound in my relatively small room. Back then, Manhattan still had many audio salons; after shopping around, I replaced the Esprit/BPs with Paradigm's Reference Studio/60 v.2s, and in 2004 stepped up to the Studio/60 v.3s.
Stereophile Staff  |  Sep 19, 2018  |  2 comments
Saturday, September 22: Alma Music and Audio (7847 Convoy Ct. #101, San Diego, CA 92111) is hosting an Audio Research event; the Pacific Northwest Audio Society and J-Corder custom Reel to Reels are holding a Technics turntable event at the Congregational Church (4545 Island Crest Way, Mercer Island, WA 98040); and Excel Audio (4678 Campus Drive, Newport Beach, CA 92660) is holding its first Annual Open House and Customer Appreciation Night.
Michael Fremer  |  Sep 18, 2018  |  39 comments
In 1959, in their musical revue At the Drop of a Hat, the British musical-comedy team of Flanders and Swann sang their "Song of Reproduction." It's not about sex. The song mocks audiophiles (you thought this was something recent?) for how we spend "all of that money to get the exact effect of an orchestra actually playing in their sitting room." Before launching into the song, Flanders quips, "Personally, I can't think of anything I should hate more than having an orchestra playing in my sitting room!"
Jim Austin  |  Sep 18, 2018  |  70 comments
I attend at least a couple of dozen classical-music performances each year. I also read reviews of recordings and live performances, and have even dabbled in writing them. Why, then, do I find classical music reviews so frequently annoying?

It's the vocabulary. In these reviews I often see words that I rarely see used elsewhere: scintillating, irresistible, delightful. One venerable reviewer for Gramophone magazine has used the word "beguiling" 100 times in some 900 reviews. When I read such words, I envision the poor music critic writhing in his (occasionally her) listening chair, approaching an involuntary state of aesthetic ecstasy. It isn't a pretty image.

Jason Victor Serinus  |  Sep 17, 2018  |  3 comments
After umpteen serious reviews, penned in serious and somber times, it's high time to lighten up. Hence to Leonard Bernstein's Wonderful Town we go, and to Sir Simon Rattle's new SACD of the musical, recorded with the London Symphony Orchestra and a stellar cast that includes Danielle de Niese (Eileen), Alysha Umphress (Ruth), and Nathan Gunn (Bob).

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