Art Dudley and amplifiers

Forums

Creative writings some times conflict when they really don't have any logic or science in the writings. It's creative writing. When is the composite material surrounded units gonna be what the "designer" decides is superior sounding? Lacquer finish is audible in an electronic device? Is this an electric guitar, where it's all about the resonance of the wood making the sound? I'm sure the COLOR of the metal and plastic cover also effects the sound, no that's next month!

Power amp to drive Paradigm Reference Studio 100

Hi
I just bought 2nd and "Paradigm Reference Studio 100 "
I found out that I don't have enough power to drive them.
I have an option to buy ROTEL RB-1080.
Is it a good choice for these speakers?
The budget is ~1000USD
I would be happey to receive information on othere Power amp which can be good for my speakers, so I can be more focused.
Thakns
Ran

New cables from Mark Levinson 336 to B&W N800

Forums

Hi, I am new to Stereophile forums, but about 20 years with this excellent publication. Maybe it is the time, after many years and component changes to replace the Kimber 8TC double runs (bi wire). My budget is max $2500. Any insights? I am looking for the most transparent and uncolored cable this money can get me. I am considering: Analysis plus big silver oval 9 (bi-wire,) Cardas Golden Reference (single), Kimber 30333 (s), Shunyata Research Andromeda (s), Synergistic Research B&W spec 8. Has any body experience with theses cables at analogous systems? Suggestions?

int amp match for PSB T8's

Forums

I'm looking for a good int. amp match for my PSB T8's. I currently use a Creek 5350se in a small room and it has already timed out on me so I'm thinking more power. I have in mind the NAD M3 or the Unico SE as possibles but any comments would be appreciated. BTW I'm planning on moving to a larger room in the near future.

Jason Moran: The Rauschenberg of Jazz

Jason Moran: The Rauschenberg of Jazz

Jason Moran finished a week at the Jazz Standard in New York City last night and confirmed his standing, at age 32, as <I>the</I> jazz pianist of our times. A few years ago, I saw Moran playing in duet at Merkin Hall with Andrew Hill, one of his mentors, more than twice his age. Afterward, a friend of mine, a trumpeter just a little older than Moran, made a sharp observation about their respective generations: Hill, a leading avant-gardist from the ‘60s then undergoing a renaissance, played in one style, his style; Moran played in many styles, all styles. Though he didn’t put it in these terms, Hill (who recently died of cancer) was the jazz equivalent of an abstract expressionist painter (say, Franz Kline or Robert Motherwell), while Moran is the supreme post-modernist (say, Robert Rauschenberg) who appropriates everything around him, including ready-made objects, and somehow makes it all his own.

Advertisement
Advertisement
Advertisement