Ariel Bitran

CMJ in New York City is a clusterfuck. Too many bands billed at each venue for them to handle with ease in one night. Too many shows to choose from all within a 2-block radius with about fifty bands you have never heard of and only nine you have. And too many people who are there for the “CMJ” experience rather than to witness the bands. Nevertheless, this CMJ was a good one.

Please. One more hit. Just one. That’s all I need. Another song, another act. It won’t hurt. It can’t hurt. I promise this will be the last place we go. Four hours later, we wake up on a subway train in Brownsville, Brooklyn.

Live music can be a dangerous thing. The thrills of a live show, the blending lightshow, the stomach-shaking bass, the spit and the sweat, are irreplaceable, but the life of the live music junkie can drain one’s energy and bank account. Fortunately, thanks to the folks at Concert Vault, you can get your live music fix on daily basis for just $2.99 a month.

In X-Men in High Fidelity we are introduced to the Beast, an audiophile, and the uncanny X-Men who listen to his hi-fi and get involved in his crazy tweaks and projects. Here Beast gets a hold of Cyclops...

After filling my speaker stands with kitty litter, the bass warble tones on Stereophile’s Editor’s Choice CD were less boomy from start to finish with greater depth within each warble tone and lower frequencies not heard previously were now audible thanks to a quieter noise floor, but after weeks of warble tones, I needed some real music.

First on the platter was Bob Dylan’s John Wesley Harding which features 3-piece band orchestrations, punchy yet meandering bass lines, and anguished harmonica playing from Mr. Zimmerman. While listening, the bass player’s melodic fills on “All Along the Watchtower” muddied the mix and masked Dylan’s vocals. One week later, my problems of unruly bass had returned.

It’s like that t-shirt you were always jealous of your friend for having. You know the one I’m talking about. It’s the one that said “Famous Guitars”, and it had drawings of Eddie Van Halen’s Frankenstein or Rick Nielsen’s multi-necked Hamer. There was also a “Famous Drumkits” one with Kreutzmann and Hart’s two-man kit or Terry Bozzio’s tom-tom explosion. Gosh, those were cool.

Well now you can be that guy but with the famous hi-fis.

Last night at top floor of the Trump Soho Hotel (New York, NY), the design-oriented firm B&O announced the release of the BeoPlay A9 as part of their new B&O PLAY lineup of products. The BeoPlay A9 is a single active speaker system designed for seamless integration into home environments. The A9 streams music wirelessly from the customers iPhone, iPad or Android device using AirPlay or your DLNA network.

During their presentation to the press, B&O suggested that this product was not necessarily made for the audiophile but instead those interested in design and feeling enriched by one’s surroundings. Apparently, this message did not sink through to the other geeky writers. During the Q&A, reporters continued to prod whether the BeoPlay A9 could be used in stereo mode with two BeoPlays, to which B&O representatives affirmed that it could, but it was not designed for that intent. While the BeoPlay A9 was designed to sound good, more importantly it was designed to look good.

In this video, Stereophile columnist and Analog Planet Editor Michael Fremer and Gary Dell'Abate (aka Baba Booey), producer of the Howard Stern Show, compare the virtues of analog playback to MP3, discuss the release of Nirvana's Nevermind on the spinning black circle, and Mikey coins the phrase 'the viral spread of vinyl.'