The Wilson Alexia and its Elite Companions
If there's one thing that Dave Wilson (pictured above) knows besides crossover design and time domain alignment, it's the sound of live, unamplified music performed in spaces that do it full justice...
If there's one thing that Dave Wilson (pictured above) knows besides crossover design and time domain alignment, it's the sound of live, unamplified music performed in spaces that do it full justice...
The largest US high-end audio show open to the public is also, despite its size and occasionally snow-encrusted environs, the warmest and friendliest audiophile show in the country. For this we owe thanks to Marjorie Baumert, who continues to nurture and sustain the show following the death of her show co-founder and husband, Al Stiefel, at the start of 2009; the exceptional staff at the comfortable Marriott; a dedicated cadre of volunteers drawn from the Colorado Audio Society and Marjorie's extended circle of friends and family; and exhibitors who, welcoming the relative peace and quiet of the location, approach the show as if reuniting with old friends.
"I'm pretty excited about the preponderance of manufacturers, because they tend to have more elaborate set-ups and bring a lot more product with them," Kajko told Stereophile.
For audiophiles, the acoustic of the Bayreuth Festspielhause in Germany, home of the annual festival of Richard Wagner's operas, vies with Amsterdam's Concertgebouw and Vienna's Musikverein as one of the most fabled for recording as well as listening. As a participant in the Music Critics of North America 2012 institute at the Festival, I had the opportunity to not only explore the venue from a near-ideal seat in Row 25 Center, but to also visit the fabled "covered pit" from which many of the greatest Wagner conductors of the last 136 years have led exalted performances.
One of those was Bob Hodas' room. Shown in part with recording, mixing, and mastering engineer Piper Payne. . .