If you're over 30, do you still buy new music?
Let's face it, keeping up with new music gets harder as we get older. If you're over 30, do you still buy new music?
Steve Guttenberg
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Rediscovering the Faith
I may have had 4000 LPs and a perfectly wonderful <A HREF="http://www.stereophile.com/turntables/1103linn">Linn LP12</A> turntable, but I could go for weeks on end without listening to a single LP. But I still thought of myself as one of the vinyl faithful, even as I rationalized my digital-centric listening tendencies. I loved analog <I>in theory</I>—I just couldn't bring myself to listen to it all that much.
Whatever happened to 5.1-channel music?
I love two-channel stereo. A great stereo recording can produce such a full-bodied, three-dimensional soundstage that surround sound seems superfluous. Multichannel is just peachy for home theater, but good ol' stereo suits music just fine, thanks very much.
How high do you want your fi?
Would you really <I>want</I> a perfect hi-fi?
Do you buy new LP records?
The vinyl boom is one thing, but do analog-loving audiophiles actually buy new records? How about you? Do you buy new LP records?
Does your system's sound quality vary from day to day?
Is it the atmosphere? The power line? Your brain? Does your system's sound quality vary from day to day?
Modern Sounds
<I>"You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing, just like—static."</I>—Bob Dylan, interviewed by Jonathan Lethem. <I>Rolling Stone</I>, September 7, 2006
Why are so few classical, jazz, or rock musicians audiophiles?
Music is such a big part of musician's lives, but high-quality audio almost never is. Why do you think there are so few classical, jazz, or rock musicians who are audiophiles?
Is Dylan full of static or has he got it right when he declares that modern recordings suck?
Bob Dylan says modern recordings sound "atrocious . . . There
Walter Sear's Analog Rules
The first thing you notice about Walter Sear's <A HREF="http://www.searsound.com">legendary Manhattan studio</A> is that it feels so darn comfortable. Sear Sound doesn't have a wall of gold records, gleaming million-dollar consoles, or the latest high-resolution digital workstations, but a quick stroll around the three studios reveals a treasure trove of tube and analog professional gear: a pair of <I>Sgt. Pepper</I>–era Studer recorders plucked from EMI's Abbey Road studios; an early Modular Moog synthesizer Sear built with Bob Moog; and a collection of 250 new and classic microphones.