NEW YORK, NY— AVTech Media Americas announces key editorial changes at its premier hi-fi title, Stereophile. John Atkinson, Stereophile's Editor and guiding light for 33 years, will step down from this position following the publication of the June (coverdate) issue, while Jim Austin will formally assume the mantle of Stereophile's Editor from the July issue. John will remain a key member of the Stereophile team in his capacity as Technical Editor, contributing reviews and in-depth lab…
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Jim Austin appointed Stereophile Editor as John Atkinson transitions to new role as Technical Editor
Today, Stereophile announces its first major Editorial changes in decades, with an expansion of the Editorial team and a change in leadership.
Since 1986, through many generations of corporate ownership, John Atkinson (right, above) has been the Editor and bedrock of the magazine. After nearly 331/3 years, JA has decided to relinquish daily responsibility for producing the magazine and as of April 1 will take on a new (and newly established) position: Technical Editor. Stepping into his shoes as Editor will be long-time Stereophile contributor Jim Austin (left, above). Deputy Editor Art…
Vivaldi: Arias
Cecilia Bartoli, mezzo-soprano; Jean-Christophe Spinosi, Matheus Ensemble
Decca 002932502 (24/96 download, CD). 2018. Arend Prohmann, prod., ed.; Philip Siney, eng.; Claudio Becker-Foss, asst. eng. DDD. TT: 58:27
Performance *****
Sonics ****
Cecilia Bartoli, mezzo-soprano; Jean-Christophe Spinosi, Matheus Ensemble
Decca 002932502 (24/96 download, CD). 2018. Arend Prohmann, prod., ed.; Philip Siney, eng.; Claudio Becker-Foss, asst. eng. DDD. TT: 58:27
Performance *****
Sonics ****
Stereophile occasionally awards a Joint Recording of the Month, and Cecilia Bartoli's second recording of Vivaldi arias deserves no less.
Though we don't know over how long a period Bartoli recorded this album's 10 tracks, she finished the project with Jean-Christophe Spinosi's Ensemble Matheus, a baroque group…
It used to be on my commute that I'd see my fellow subway riders listening to music on their iPods with headphones from Beats, Bose, Sennheiser, Sony—and even, occasionally, from Grado. These days, however, iPhones and Android smartphones are ubiquitous, and while I still sometimes see a pair of Beats, many travelers now wear Bluetooth-connected Apple AirPods. I haven't bought a pair of AirPods, so I don't know how they sound, but at $159, I suspect they don't compete with "legitimate" headphones. Even so, I wondered if convenience trumps sound quality when it comes to listening on the move…
Friday March 8 at 6pm, Audio Element (117 E. Union St, Pasadena, CA 91103) is presenting the next in their 2019 Monthly Music Series—Ae LIVE! Each event takes place at Audio Element and will showcase a local musician/band, Audio Element brand, and local food vendor. Friday's event will feature country blues guitar from Barry Big B Brenner and delicious BBQ from Gus's BBQ. Space is limited so be sure to RSVP.
Friday and Saturday, March 8, 4–7pm, and March 9, 11am–4pm, Command Performance AV (115 Park Avenue, Suite 2, Falls Church, VA 22046) will host two Luxman events with special…
Ask anyone in the street what they think of when they hear the word "loudspeaker" and odds are they'll describe a wooden box with moving-coil drivers sitting in its front. But ask a Stereophile reader and it's quite possible that he or she'll describe a large, flat panel reminiscent of a room divider: in our 1989 reader survey, the most widely represented brand of loudspeaker was Magnepan, with a significant lead over Infinity and Vandersteen, the second and third most common speaker brands. This represents considerable commercial success in a generally conservative marketplace for a company…
Nevertheless, with all the amplifiers I used, there was a delicious smoothness to the MG2.6's overall midrange presentation, a seamless quality in the transition region between the two drivers, that enabled individual instrumental textures to be easily differentiated. In JGH's recording of the Járnefelt Praeludium, again from the Stereophile Test CD, there is a passage after the bridge where oboe, clarinet, bassoon, clarinet again, flute, then French horn all toss around the same little rising fragment of tune. The MG2.6's lack of coloration allowed the differences between those…
Sidebar 1: Review System
Equipment used during the auditioning of the Maggies included Mark Levinson No.23.5, Audio Research Classic 60, and YBA 2 HC power amplifiers, hooked up to the speakers with 2m lengths of AudioQuest Dragon or YBA Diamond cable. The main preamplifier used was the French YBA 2, with the latest version of the Mod Squad's Line Drive Deluxe occasionally pressed into service, both feeding the power amplifier via 15' lengths of AudioQuest Lapis unbalanced interconnect.
Source components included a Linn Sondek/Lingo/Ekos/Troika setup sitting on an ArchiDee table…
Sidebar 2: Specifications
Description: Two-way floor-standing planar loudspeaker. Drive-units: 40"-long, ¼"-wide ribbon tweeter, "Magneplanar" midrange/woofer measuring approximately 58" by 10.5" (609in2 area). Crossover frequency: approximately 1kHz. Frequency response: 37Hz–40kHz ±3dB. Nominal impedance: 4 ohms (3 ohms minimum). Sensitivity: 87dB/W/m. Recommended minimum amplifier power: 50W.
Dimensions: 71.5" H (including feet) by 22" W by 2" D. Weight: 50 lb.
Serial numbers of units tested: 124978-1 & -2.
Price: $1950/pair (1991); no longer available (2019).…
Sidebar 2: Measurements
Fig.1 shows the MG2.6's electrical impedance magnitude (solid line) and phase (dashed line). With a value averaging 5 ohms in the bass and 3.5 ohms in the treble, with a rise in between due to the crossover, the speaker is a reasonably demanding load in terms of current draw, though the phase curve indicates it to be resistive—ie, not significantly departing from a 0° phase angle—over much of the audio band. The MG2.6s shouldn't give good tube amps any problems as long as they're driven from the 4 ohm output taps. The very slight wrinkles at 50 and 60Hz presumably…