Pure Sound Warps Time | Revel Performa4 Bookshelf Loudspeaker
Vinyl Bliss: Discover Your Music Universe at Absoulute! #shorts
Klipsch Trumpets 80th Anniversary Klipschorn Loudspeaker at Audio Advice Live 2026
Chad Kassem Tells Us What to Expect at The Vinyl Summit
See How the New HumminGuru NOVA RCM Cleans an LP!
Canvas HiFi Unveils Powered 2-Channel Speaker System at Audio Advice Live 2026
KLH Previews the New Model 4 Loudspeaker at Audio Advice Live 2026
KEF Showcases the New LS Luxe Loudspeaker at Audio Advice Live 2026
Paradigm Premieres a Trio of Premier Series Speakers at Audio Advice Live 2026
Bowers & Wilkins Stands Tall at Audio Advice Live 2026
Vibrant HiFi at SouthWest Audio Fest 2026
Pure Audio Project at SouthWest Audio Fest 2026
Dreamscapes A/V at SouthWest Audio Fest 2026

LATEST ADDITIONS

Rocky Mountain Audio Fest: Bigger than Ever

Next weekend's <A HREF="http://audiofest.net/2010/index.php?Sid=860cc0cc7b60fd7f9bd2725ff657784… Mountain Audio Fest</A> (RMAF) is bigger than ever. Scheduled to be held October 15&#150;17 in the Denver Marriott Tech Center, the seventh annual show has expanded from last year's 145 display rooms to a record 174. Add in silent displays in hallways, and there were products in every price range from a good 400 companies (up from 350 in 2009). Now occupying six floors in the Marriott Tower (including the mezzanine) and two in the Atrium, the Rocky Mountain Audio Fest has well earned its reputation as the largest consumer-audio and home-entertainment show in the US since the demise of the <I>Stereophile</I> Shows.

Continue Reading »

I Want the World to Stop

Belle and Sebastian’s new album, <i>Write About Love</i>, is due in stores on October 12. I spied an advance copy in the office of our music editor, Robert Baird. He’s hogging it up for himself, though. Something about having to “write a review.” Whatever. Fortunately, from now until the 12th, NPR will be <a href="http://www.npr.org/templates/story/story.php?storyId=130212728">streami… the entire album</a>, so we can get a cheap fix until we buy the real thing.

Continue Reading »

John Carter & Bobby Bradford

The latest 3-CD box in Mosaic Records’ Select series, <I>John Carter & Bobby Bradford</I>, is something of a revelation. I’ve heard several albums over the years by the two musicians separately, but never their collaborations of 1969 (as the New Art Jazz Ensemble) and ’71 (as John Carter & Bobby Bradford, though playing with much the same quartet), both recorded on the obscure Revelation label. Now here they are, reissued with unreleased takes and a whole unissued (unknown) duet session that was laid down in ’79.

Continue Reading »

Music in the Round #44

When I <A HREF="http://www.stereophile.com/musicintheround/854">started out</A> on my multichannel mission in 2000, it was with an all-digital <A HREF="http://www.stereophile.com/floorloudspeakers/201">Meridian system</A> that relied on lossy, compressed sources like the original Dolby Digital and DTS formats, or on synthesized surround based on Dolby Pro-Logic or Meridian's own TriField. With the appearance of first SACD and DVD-Audio and then Blu-ray, discrete lossless multichannel recordings became available, but there was no way to output those signals in digital form for interconnection to other components for playback or further manipulation. Most audiophiles, me included, already had analog preamps and power amps. It was only with the appearance of HDMI and the accompanying HDCP content protection that we could output those digital signals, and over a single cable to boot. Today, there are A/V receivers, some costing less than $500, and more than a handful of audiophile-oriented preamp-processors, that can accept such lossless high-resolution multichannel content as PCM, DSD, Dolby TruHD, and dtsHD Master Audio.

Continue Reading »

Oneohtrix Point Never: Returnal

Returnal (Editions Mego EMEGO 104), the fourth full-length release from Oneohtrix Point Never, explodes into the listening room (or out from the speakers or out from the headphones) with real violence and penetrating force. We are thrust into a heavy storm, a maelstrom; we find ourselves standing beneath an ocean of falling glass, falling sky, falling electronic haze. If instruments could scream, their screams might sound like this, like the opening few moments of Returnal, moments that don’t seem like an opening at all, but someplace else, some other time that escaped us, that started without us, before we were ready. I don’t mean scream in the way that guitars and saxophones and other instruments can and do scream. I mean that if instruments could be dealt such pain that they were brought to life, given sentience, to wail with wonderful suffering, it might sound like this, like the opening few moments of “Nil Admirari.”
Continue Reading »
Advertisement
Advertisement
Advertisement