Herb Reichert

In the room with the most beautiful speakers, they played Norah Jones…

On the day before RMAF 2016 began, German audio manufacturer Elac announced that they have entered an agreement to acquire Peter Madnick's American company, Audio Alchemy…

I used to be a DIY guy, but now that I work for Stereophile, I'm living like Jay Z &#151and there's no time for sawing wood or screwing raw drivers into boxes…

The inside of the Brinkmann Nyquist is beautiful, like a jet fighter…

My brain began to spin, wondering how the thing actually works. What keeps the record on the platter? What keeps the tonearm on the record?

When you get old and gray and all them shoot-'em-up dudes doe wanna ride wit you no mo, don't fret—you can still have fun. Once you're a geezer, you'll have more time to work in the garden, drink tea, buy LPs, and fiddle with your unipivot.

When I was José Cuervo young, I mocked belt-drive turntables, unipivot tonearms, and teetotalers. "You can't drink, dance, shoot up the bar, and play hot records wit no persnickety belt-drive or wobbly unipivot. You need a masculine, pro-fessional-quality direct-drive or rim-drive turntable with a sturdy a gimbal-bearing tonearm!"

Every time a new audio technology enters the marketplace, a debate begins about its relative merit. That debate never ceases, even decades after the technology first came (and sometimes went). Turntable platters driven by belts vs rims vs idlers vs directly by their motors. Analog vs digital. Tubes vs solid-state. Triodes vs pentodes, Single-ended vs push-pull. Objectivism vs subjectivism. The power and seriousness of each of these debates has splintered our global hobby into diverse tribes, cults, and subcults—and therein lies one of the chief joys of being an audiophile: participating in cult rivalries.