Wes Phillips

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Wes Phillips  |  Mar 03, 1996  |  0 comments
I love the sound of glowing glass,
especially when I'm lonely.
I love the nuances of emotion.
It's nothing new, nothing new,
The sound of glowing glass...
(with apologies to Nick Lowe)
Wes Phillips  |  Feb 23, 1996  |  0 comments
At the 1994 Summer CES, I was sitting in ProAc's room listening to Vangelis's Blade Runner score, when a couple of guys walked in carrying a shiny black board. "This is pretty interesting stuff," one of them said. "Want to hear it?"
Wes Phillips  |  Feb 09, 1996  |  0 comments
Stuff that works, stuff that holds up/
The kind of stuff you don't hang on the wall/
Stuff that's real, stuff you feel/
The kind of stuff you reach for when you fall.
John Atkinson, Wes Phillips  |  Jan 26, 1996  |  0 comments
The inspiration for this project came from Stereophile's Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing ad hoc ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.
Wes Phillips, Robert J. Reina  |  Jan 11, 1996  |  0 comments
SLAM! My left foot went numb. My fellow salesman, Danny Shapiro, had lost control of the Thiel CS5 that we'd been walking into place in Demo Room V, and it had come crashing down on my foot with unerring accuracy—all 180 lbs worth. As I stared down in horror, I remembered that we'd left the spikes on. But wait a minute—there was no pool of blood spreading out from under the CS5. How could that be? Convinced that the heavy cabinet was acting as a tourniquet, I levered it off my foot, expecting a grisly sight. I got one: my new Rockport pierced by the carpet-point—right between my big and second toes. And people ask me why I like small loudspeakers.
Wes Phillips  |  Jan 09, 1996  |  0 comments
TERRY EVANS: Puttin' It Down
AudioQuest Music AQ-CD1038 (CD), AQ1038 (LP*). Joe Harley, Terry Evans, Jorge Calderon, prods.; Michael C. Ross, eng. AAD/AAA. TTs: 53:25, 46:03*
Wes Phillips  |  Nov 26, 2012  |  First Published: Jan 01, 1996  |  8 comments
Coincident Speaker Technology was known until recently as Concentric Speaker Technology. Under that name they marketed a line of cylindrical speakers covered in leather. All of their previous offerings have been discontinued along with their former name; the Troubador ($1495/pair), a handsome two-way housed in an asymmetrical cabinet, is the first of their new line of speakers. A bass module/speaker support à la the Wilson Puppy is also offered. Coincident's speakers are designed by Israel Blume and are direct-marketed in the US. There's a 30-day money-back guarantee and a five-year warranty on parts and labor.
Wes Phillips  |  Dec 23, 1995  |  0 comments
KEITH JARRETT: At the Blue Note: The Complete Recordings
Keith Jarrett, piano; Gary Peacock, bass; Jack DeJohnette, drums
ECM 1575-80 (78118-21575-2, 6 CDs only). Manfred Eicher, prod.; Jan Erik Kongshaug, eng. DDD. TT: 7:03:37
Wes Phillips  |  Jul 09, 2006  |  First Published: Dec 09, 1995  |  0 comments
As I trundled the WATT/Puppys off to the Stereophile laboratory complex for our test procedures (see my review in the last issue), I idly wondered to myself, "Gee, what am I going to do for an encore?" Visions of exotic butterfly-like horns danced in my head (nope, J-10 Scull gets those babies). I was tantalized by the call of ambitiously designed behemoths (Major Tom gets those, he's got the room for 'em). Maybe some jewel-like, state-of-the-art minimonitors? (JA glommed 'em—editor's prerogative, y'know.) So what does that leave me?
Wes Phillips  |  Aug 07, 2005  |  First Published: Dec 07, 1995  |  0 comments
Walking through the circus that was WCES '95 was like undergoing total neural-synaptic overload. I felt hard-pressed to just keep my head above water separating good sound from bad. Trying to piece together a coherent picture of the show, I jotted down the components in the best systems that I'd heard, and a few items popped up with astonishing regularity. One of these was Audio Research's single-chassis CD player, the CD-1.

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