Ariel Bitran

“But I need new over-ears,” I pleaded.

“What do you want me to do about it?”

“Nothing, I guess. Maybe show some sympathy?”

“Fuck off.”

It was getting serious. I was getting my drummer involved, but he didn’t care.

He didn’t care that my Sony MDR-V150s distorted at high volumes and always pinched out a chunk of hair from my balding scalp after I took them off. He didn’t understand that my favorite Grado SR60s (More SR60 links: Corey Greenberg’s review and Jim Austin’s review) had a broken earpiece frame rendering themselves un-wearable in stereo. Even some Grado SR125s that JA brought in for me to borrow were dead in one channel, and the headband on Stereophile’s sample of Monster Beats Studio had a crack down the center. I did not want to break them with further use. Listening to music in my cubicle had become near-impossible. My in-ear headphones hurt after an extended periods of use (that includes 8 hours at a desk); plus, the right channel in my Etymoic ER6s is silent. I always feel awkward playing music lightly through my desktop speakers, barely interrupting everyone else around me. I need it loud, and I need it to myself.

Then the Sennheiser HD 428s came into to my life.

Wabaam! Another month, another Stereophile. My how time flies when you are reviewing hi-fi.

Compared to the enormous April issue that hosts our chunky Recommended Components listing, May is petite but still packs a powerful punch loaded with insights and audio enhancers. Enhancers you ask? What might those be? Well how about bell bronze gongs! And magic fuses! And audio to make you cream…I mean, P.W.B.’s Electret Cream, which according to AD, just might work if you rub it in the right place.

As Ariel discussed last week, Lyric was one of two premier NYC dealers—the other was Stereo Exchange—that opted against participating in the New York Audio & AV Show, and instead held their own events.

Because both Lyric and Stereo Exchange are successful operations, run by smart people, we figured they must have good reasons for doing things their own way. But, even as the weekend approached, those reasons weren’t fully clear. Were financial obstacles impossible to overcome? Were issues of logistics too much of a burden? Had there been some sort of communication breakdown between the dealers and the show’s organizers? Did it simply make little sense for Lyric and Stereo Exchange to participate, or were they just being hard-nosed, stubborn, elitist?

Perhaps we would find some answers inside.