(Credit:
Denon)
When it comes to turntables, I prefer them in their natural, all-analog state.
That's just me. Mixing digits and grooves is a hot topic of late. My pal Chris Chiarella over at Home Entertainment magazine seemed to really like Denon's new DP-200USB turntable ($250). I reviewed another USB turntable last year and thought it was too much work to use.
I'm no expert in this area, but this Denon seems like a better way to go. First, you don't need a computer nearby to do the analog-to-digital thing. Chiarella just connected the turntable's analog cables to his receiver's phono input, after switching the turntable's internal Phono EQ to Off (so the Denon will work even if your receiver is phono-input challenged).
The DP-200USB's best feature is its front-panel USB port. The system's internal MP3 encoder converts analog signals to digital files. A blinking red light confirms that grooves are being digitized. Denon claims 30 LPs fit on a 1GB drive.
... Read moreI've had a lifelong love affair with radio. I was a huge Howard Stern fan, back when he was funny, and I'm into political talk, but music has always been the biggest draw. I find most of the new music I buy on the radio.
A great DJ can turn you onto great music. They work as filters, filtering out the crap, and playing stuff you might not hear anywhere else. That's what makes them great DJs.
Scelsa's on Sirius-XM's "The Loft" channel.
(Credit: Steve Guttenberg)I've been listening to Vin Scelsa since the early 1970s, starting with, I think, WABC-FM in New York City. His sets, now on Sirius/XM Satellite Radio can go on for 30 minutes or more, and the way he weaves together tunes from rock, jazz, classical, world, strange and wonderfully obscure music is unmatched. His deep knowledge and vast music library (he broadcasts out of his house) should be cited as some sort national treasure. There's something about the way Scelsa makes musical connections I never tire of.
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My second Linn LP12 turntable.
(Credit: Steve Guttenberg)
CNET.com Poll
Audiophiles have been known to develop unnaturally strong bonds with their gear, but civilians also have their faves. It might be a type--a speaker, an MP3 player, a car audio system--or a specific product. For me it was my first Linn LP 12 turntable I bought in 1979. I told my wife I wanted to be buried with it. That 'table rocked my world.
Or are you just hung up on 8-track players, or maybe it was a radio your father gave you? In other words, I want to know if it's a type of gear, or a specific product you've owned. Please tell us about your favorite piece of audio equipment in the comments below, and also be sure to vote in the poll.
Sure, you can probably score a better price buying audio gear online, and it's certainly easier, but is it a smart way to go? I don't think so.
First, buying hi-fi without listening to it is a bad idea. Smart buyers compare one product to another, it's simply the best way to learn what your choices are. Granted, it's not the same as hearing speakers in your own room, but at least you're hearing them in comparison to each other under the same conditions.
An Innovative Audio listening room in New York City.
(Credit: Steve Guttenberg)Online reviews, including the ones I write for CNET and print magazines offer my opinions about sound. But reviews by me or anyone else can't predict about how, say a speaker, works with a receiver that's similar to yours. I have no idea about your specific needs, your room size, acoustics, taste in music, etc.
Use my reviews as a starting point and then try and listen for yourself.
User reviews? Hey, I make my living writing audio reviews and my opinions are drawn from my experiences with literally thousands of audio products. I can point you in the right direction, but at the end of the day, its your ears and your money. Buy what you like; just make sure you've heard it.
A good salesperson can offer sound advice based on your specific needs. That's a huge advantage online sales outlets can't duplicate. Yes, finding the right store or salesperson can take time, but that's true for doctors, lawyers, plumbers, and contractors, but once you've found a good one, their advice and council can be a huge asset. If you're spending $500 or more for speakers or a receiver try to make the effort to hear the thing. A successful salesperson has lots of happy customers, there's no other way to be successful. I sold audio for 16 years, I know from where I speak.
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The panelists discuss record production at the AES convention in New York City.
(Credit: Steve Guttenberg)I attended a fascinating panel discussion, "Behind The Glass: Audio Production in the 21st Century" at the Audio Engineering Society convention in New York City on Sunday.
The panelists were all prominent record producers and engineers: Tony Brown (Elvis Presley, Emmy Lou Harris); Jimmy Douglass (Jay-Z, the Rolling Stones); Dave Hewitt (Simon and Garfunkel, U2); Ryan Hewitt (Avett Brothers, Red Hot Chili Peppers); George Massenburg (Linda Ronstadt, Lyle Lovett); Ann Mincieli (Alicia Keys, Whitney Houston); and Russ Titelman (Stevie Winwood, Eric Clapton). These people know from where they speak!
Moderator Howard Massey led the panel through a discussion of the problems facing the record industry, with a primary focus on sound quality. Massey co-authored (with Geoff Emerick) my favorite Beatles book of all time, "Here, There and Everywhere: My Life Recording the Music of the Beatles." He also has a new book coming out, "Behind the Glass, Volume II: Top Producers Tell How They Craft the Hits" a collection of interviews with top record producers and audio engineers.
It seems like the main problem comes from record company pressure to make perfect recordings. Vocalists' off-pitch and out-of-time singing is tweaked with Auto-Tune; music-making is largely technology-based. That is, technology has replaced musical talent, and singers like Britney Spears were cited many times as to where it's all headed. Not so musically talented, her music has to be patched together in the studio. There's not a lot of there there.
Jimmy Douglass talked about the overuse of dynamic range compression, admitting that since most music is listened to over crappy computer speakers or cheap earbuds, compression is required to make it sound acceptable. Sad, but true.
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The rarely photographed Harry Pearson.
(Credit: Steve Guttenberg)Harry Pearson, who coined the term "high end," spoke at the Rocky Mountain Audio Fest 2009, held last week in Denver. "High end" has long since spread to cars, cameras, jewelry, real estate, boats, and a gazillion other categories, but audio is where it all started.
Pearson's magazine The Absolute Sound, The High End Journal, and J. Gordon Holt's Stereophile magazine created an audiophile community.
Starting in 1973, Pearson's flamboyant writing style and deep love of gear and music helped prod the state of the art forward through the 1980s. The Absolute Sound's tiny circulation and sporadic publishing schedule didn't hurt its prestige and importance in the industry. A rave review, especially by Pearson, could put a start-up company on the map.
Pearson made people curious about, well, the absolute sound. That is, the sound of musicians and vocalists, recorded in an appropriate acoustic space. We all wanted a hi-fi system good enough to put us in that space. That's impossible, but the goal, reproducing the absolute sound, still drives at least some audiophiles.
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The Wadia stack brings out the very best in iPod sound.
(Credit: Steve Guttenberg)The Rocky Mountain Audio Fest 2009, held last week in Denver, showcased the best and brightest in new high-end headphones and iPod sound enhancing gear.
I blogged about Wadia's super iPod dock, the 170i Transport last year, and Wadia now has a matching digital-to-analog converter/power amplifier, the 151. It has one USB, one Toslink, and two coax inputs. The 170i was the first "dock" to extract a digital output from an unmodified iPod, so for those who really care about sound quality, the Wadia 151 will be the way to go. The 151 PowerDAC will soon be available in black and silver.
Jack Wu standing next to the best-sounding headphone rig at the show.
(Credit: Steve Guttenberg)Jack Wu of Woo Audio brought a nice selection of his tube headphone amplifiers to the show. I'm a huge fan of Woo Audio, its amps have made my Grado and Sennheiser headphones sound better than ever. Woo was also showing prototypes of its upcoming digital-to-analog converters, the sound showed great promise.
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The HFI-2400 headphone.
(Credit: Ultrasone)Germany has the high-end headphone market covered, as Beyer Dynamic, Sennheiser, and Ultrasone are all headquartered there.
Ultrasone is the newcomer of the group, but it's hardly new. It was founded in 1991 in Tutzing, close to the Alps in southern Germany. The headphones are manufactured in the U.S., Germany, Austria, and Taiwan.
Ultrasone has just announced a new flagship model, the HFI-2400 ($329). It features Ultrasone's S-Logic technology that promises to create "natural surround sound" by reducing pressure on the eardrum up to 40 percent. The new headphone also features ULE-technology that reduces electro-magnetic radiation by 98 percent compared with conventional headphones.
The HFI-2400 is a foldable, open-backed design that delivers a wide soundstage to the listener. The headphone comes with a removable 10-foot cable, a velvet carrying bag, and an Ultrasone demonstration CD. The HFI-2400 will be available in late October or early November.
Twin aluminum cylinders belt out a huge sound.
(Credit: Steve Guttenberg)The Rocky Mountain Audio Fest 2009, held last week in Denver, showcased the best and brightest in high-end audio gear.
Hundreds of high-end manufacturers, from tiny one-person operations all the way up to industry giants like JBL were on hand. RMAF has a very different vibe than the Consumer Electronics Show held in Las Vegas every January--RMAF is a more grassroots affair.
I never heard of RAAL, a company based in Serbia, but its small (I'm guessing 7-inch-tall) speakers, produced a huge, room-filling sound. The speakers totally disappeared as sound sources.
The speaker uses twin aluminum cylinders, with 4-inch drivers firing up and down and a special "ribbon tweeter" sandwiched between the two cylinders, firing front and rear. Each speaker has its own, separate woofer, housed in another tube with 6-inch woofers at each end.
It's a fully powered system; just hook up a source such as a CD player and you're good to go. Price and availability weren't announced, but the company is hoping the complete system will cost around $4,000.
TAD speakers and Bel Canto electronics sang ever so sweetly together.
(Credit: Steve Guttenberg)TAD (a division of Pioneer Electronics) had the best sound I heard at RMAF. Their newly revised Reference One speaker ($60,000 per pair) was far from the most expensive speaker in Denver, but the 330-pound towers produced the most vivid, clear, and transparent sound. Bass drums were tight, pitch-perfect; stereo imaging was, again, remarkably precise and three-dimensional. Vocalists virtually materialized between the two Reference Ones.
Some of that amazing sound quality has to be attributed to the Bel Canto electronics that TAD was using. The compact e.One Series components use just a tiny fraction of the AC power consumed by their hotter running, bigger and heftier competition. Bel Canto does things differently.
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ElectronLuv amplifiers are vacuum tube designs.
(Credit: ElectronLuv)For over 10 years ElectronLuv has been producing custom amplifiers and high-end components.
I think they're awesome-looking things, and I love that they're built to order. In a way ElectronLuv's design ethos reminds me of the "American Chopper" TV series where they custom build high-end motorcycles to order. But in this case it's stereo pre- and power amplifiers, guitar amplifiers, turntables, and horn speakers designed to meet ElectronLuv's customers' desires.
ElectronLuv also makes custom guitar amplifiers.
(Credit: ElectronLuv)Some might call it steampunk or retro chic, but I think ElectronLuv products are unique and represent the best of American high-end audio.
ElectronLuv's Josh Stippich needs three to six months to design and build each of his one-of-a-kind products. In the early design stages Stippich sends his customers drawings to get feedback so he can give them exactly what they want.
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