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Sam Tellig may apologize for contributing to the audiophile empty wallet syndrome, but that doesn't stop him from ranking the Monarchy">http://www.stereophile.com//digitalsourcereviews/339/">Monarchy Audio Digital Interface Processor 24/96 "a must-have if you want to get the most from your upsampling MSB Link DAC III."
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Jonathan Scull asks "What's it take to compete on the bleeding edge of digital?" Apparently more than what's offered by the "large international manufacturing and marketing concerns stalking the earth today." Will the Accuphase">http://www.stereophile.com//digitalsourcereviews/340/">Accuphase DP-100 Super Audio CD transport & DC-101 Digital Processor make the cut? Scull's incisive report reveals all.
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Brian Damkroger's audio world may have been in a disorienting flux the last several months, but one thing remained a bastion of stability: the Simaudio">http://www.stereophile.com//digitalsourcereviews/343/">Simaudio Moon Eclipse CD player. Damkroger explains why in his complete report.
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Chip Stern provides us with a mini-review of the Sony">http://www.stereophile.com//digitalsourcereviews/346/">Sony SCD-777ES . Find out why this SACD player prompted him to exclaim: "At $2500, the SCD-777ES is not merely a Class A component, it's a steal."
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Mark Levinson has traveled from Woodstock to the Whitney, and Michael Fremer lends an ear to his Red">http://www.stereophile.com//loudspeakerreviews/350/">Red Rose Music R3 loudspeaker to determine if the journey was a fruitful one. As Fremer characterizes it, "If Levinson's Cello foray was haute monde, Red Rose is Dockers: loose-fitting and relaxed."
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It was 15 years ago this week that an enthusiastic John Atkinson was lured From">http://www.stereophile.com//asweseeit/352/">From London to Santa Fe to take the helm of Stereophile. As JA recounted back in 1986, "From London, England, to Santa Fe, New Mexico, is a pretty big jump, both geographically and culturally. From Hi-Fi News & Record Review to Stereophile, however, is a mere hop; the similarities overwhelm the differences."
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As John Atkinson points out in his "As We See It" from last month, Trumpets">http://www.stereophile.com//asweseeit/355/">Trumpets to the Back of Me?, there appears to be a long, hard road ahead for audiophiles as record labels struggle to make something out of the multi-channel future. As JA puts it, "The last thing I want is to have trumpets and drums attacking me from behind, yet almost without exception, that is what record producers seem to feel is an essential part of the DVD-Audio and SACD experiences."
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In his The">http://www.stereophile.com//thefifthelement/358/">The Fifth Element #2, John Marks discusses in detail how to use common household items to render some audiophile magic. Marks explains, Aall you need is a very long piece of string, a tape measure, two bits of masking tape, a quantity of small self-adhesive removable note papers, and later, perhaps, a trip to the fabric store."
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They've been around for years, under a variety of guises and from an evolving list of manufacturers and distributors. But the BBC">http://www.stereophile.com//loudspeakerreviews/361/">BBC LS3/5a loudspeakers still cling to their legendary status. We provide not only J. Gordon Holt's original 1977 review for Stereophile, but also follow-ups from 1984, 1989, and 1993. Read about the little speaker that could.
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As Michael Fremer reports, critics have universally hailed Infinity's $8k flagship Prelude MTS. But can the success of the MTS trickle down to the lower price points? For his review of the $2000/pr Infinity">http://www.stereophile.com//loudspeakerreviews/364/">Infinity Intermezzo 2.6 loudspeaker, Fremer set out to determine if the more modest sibling is a "worthwhile chip off the old block or just a marketing divot."