CNET News Poll
(Credit: Steve Guttenberg)What's wrong with you?
Doesn't everybody have at least one of these things? I'm just curious, is there anyone out there who flat-out refuses to buy an iPod or Zune or whatever? Are you just bucking the trend? Oh, and please tell us how old you are. I want to know if there are any iPod-less kids reading the Audiophiliac.
The Icon comes in four colors.
(Credit: NuForce)I heard the NuForce Icon (briefly) at the Rocky Mountain Audio Fest last year, and the little bugger was astounding. The anodized aluminum chassis is available in four snazzy colors. It feels well made.
Stereophile's Wes Phillips reviewed it for real. He even had the nerve to hook up the teeny NuForce Icon to a pair of Definitive Technology Mythos STS SuperTower speakers, and Phillips was bowled over by the sound! The sheer incongruity of the match-up was disarming, but in the end Phillips heard the limitations of the NuForce Icon. Used as intended driving small speakers, it's tough to beat for its size and price.
It has USB, 3.5mm, and stereo RCA inputs; and headphone and speaker-level outputs. It's a 12-watt-per-channel desktop amp, so NuForce isn't touting the Icon as a giant killer, just that it'll sound sweet used in the context of a desktop audio system. Did I mention it's little, just 1 by 4.5 by 6 inches, and weighs one pound?
The S-1 speaker.
(Credit: NuForce)NuForce also offers a matching speaker, the S-1, for $249 a pair. There's also a subwoofer, the W-1, that goes for, you guessed it, $249.
The W-1 subwoofer
(Credit: NuForce)
For long-term satisfaction, speakers trump video every time.
(Credit: Steve Guttenberg)A good friend of mine is still fuming over picking HD-DVD over Blu-ray. He's held the grudge so long he just recently dumped the player and even some of the discs and bought a Blu-ray player.
I know another guy who's steamed that his $2,000 6-year-old receiver doesn't have HDMI switching, so to get Dolby TrueHD and DTS Master Audio he plays his Blu-ray over the receiver's 5.1 channel analog inputs. Fine, but the receiver doesn't do any sort of bass management over its analog inputs. The sound isn't so hot.
Do you know anybody who bought a plasma TV in 1999 for around $10,000 who still uses it as their primary display? I don't, but I'd bet most of those buyers are on their second or third display by now.
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A little musical time capsule
(Credit: Steve Guttenberg)Making a cassette mixtape in the 1970s was a labor-intensive effort.
Cueing up a LP or 45 single, dropping the needle and releasing the recorder's "pause" button required a deft touch. If you didn't get it just right, you'd either have too much lead-in groove time before the tune started, or start too late and cut off the first second of the next song.
Mess up, and you have to stop, back up the tape, recue and start the process over again. Oh, and you'd have to carefully match the record volume level of each new tune, or suffer the consequences of a too loud/too soft varying volume mixtape. The horror!
Sometimes in the middle of a mixtape session I'd stop and review what I had so far. That could be scary, especially when I discovered the fourth song of the eight I laid down interrupted the flow. I'd have to go back and start again after the third song. It could easily take seven or eight hours to make a 90-minute tape.
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OK, Michael Jackson is weirder, but Tom Waits is a more interesting sort of weird. I thought so before I read Barney Hoskyns' "Lowside of the Road: A Life of Tom Waits," but now I know it.
Thing is, Tom Waits is his own genre; there's no other songwriter or musician that does what Waits does. No one ever tagged Waits a folkie or rock musician, or even all that much of a musician. Waits is Waits, and that's all he has to be.
Hoskyns tries to nail down exactly who Waits is, but never really succeeds. We learn that in the early 1970s Waits was a beatnik poet of sorts, but somehow his tunes were covered by mainstream acts like the Eagles ("Ol' 55") and Bruce Springsteen ("Jersey Girl"). During his early days he was based in Los Angeles, but Waits wasn't really part of the radio-friendly LA singer/songwriter pack led by Jackson Browne and Warren Zevon. His early heavily textured, noir-romantic records were populated with stellar jazz players.
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Side and top of an Ayre MX-R oh-so very high-end power amplifier.
(Credit: Steve Guttenberg)It's the hi-fi's job to produce the sound of music encoded in a recording.
Does how well or how accurately it produces the sound affect musical enjoyment? I'm not so sure about measurements; they just define distortion levels, power rating, and frequency response, but they don't have all that much to do with good sound. Good sound is much harder to nail down; we like what we like. You know good sound when you hear it.
Studio recordings rarely sound "live," or even realistic. How could they? Chances are the band never played the entire tune together "live" in the studio. Their music was patched together from bits and pieces, overdubbed, pitch corrected, rhythm corrected, EQ-ed, dynamically compressed, and processed in a gazillion ways. Of course, a lot of that also goes into modern "concert" recordings. So what constitutes a good sounding recording is pretty impossible to define. Play it back over a great system and what do you hear? Does it get your blood pumping?
So the question really is, does the music fully engage the listener? Sometimes, the better the hi-fi, the more music the listener hears, the more they like the music. Why that is? I don't know.
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Wilson Audio's latest, the Sasha W/P speaker.
(Credit: Steve Guttenberg)Wilson Audio Specialties didn't invent high-end speakers, but its original WATT speaker, introduced in 1986, changed the rules of the game.
Up to that point, state-of-the-art speakers were all large beasts, but the WATT was a comparatively tiny stand-mounted speaker. Its distinctive pyramidal shape went on to spawn countless imitations.
The WATT was soon joined by the matching Puppy (woofer), and over the ensuing decades the two-piece WATT/Puppy system evolved, culminating in the WATT/Puppy 8 in 2006. Well over 15,000 WATT/Puppys have been sold since 1986, but rather than move to the W/P 9, founder David Wilson decided to start afresh, so now we have the Sasha W/P ($26,900/pair).
Wilson Audio Specialties' director of sales, Peter McGrath, came to New York City to present the Sasha W/P to the press at Wilson dealer Innovative Audio last week. The new speaker's sweeping curves and refined shape make for the best-looking Wilson speaker of all time.
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A ticket to ride, $5 to see the Beatles, not bad.
(Credit: Steve Guttenberg)I have no idea why, but "The Beatles at the Hollywood Bowl" has never been released on CD in the U.S.
Worse yet, I don't think it's going to come out on CD or download when the remastered Beatles albums are released later this year. "Hollywood Bowl" came out on LP in 1977, before the CD was invented, and long after the group broke up. In 1977 all four Beatles were still alive. Luckily enough, it's not at all hard to score a decent "Hollywood Bowl" LP now.
I can't think of another major sixties band that didn't eventually put out a great concert LP. For reasons lost to the mists of time the Beatles live recordings were all pretty poor quality, and these Hollywood Bowl dates are less than stellar-sounding. But the thing is, the performances rock harder than the Beatles ever did in the studio.
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Woman-size speakers make a big, room-filling sound
(Credit: Ferguson Hill)Heard, but hardly seen speakers aren't new.
There's a number of glass and clear plastic speakers on the market, but these fetching British models are something else again. People seem to want speakers and audio gear that "disappears" and still sound great. Ferguson Hill makes a full line of see-through designs, and from the looks of it the FH001 just might be a real contender.
It's a "horn" speaker made of clear acrylic, and its ultrahigh efficiency design allows it to play nice and loud with as little as 3 to 50 watts. So there's no need to use the FH001 with power hungry amplifiers! Horn speakers are easily the "greenest" of speaker types, and work well with even the smallest, most power-efficient amplifiers. I first heard about Ferguson Hill on the Ultimate AV Web site.
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Margery just wants to have fun.
(Credit: Steve Guttenberg)Women sometimes buy quality audio, but that doesn't make them audiophiles.
With rare exceptions, all the audiophiles I've known are men. The unifying mantra for audiophiles is that there's always something, maybe an amplifier or speaker just out a reach that might get them a little closer to the music. Audiophiles are gear junkies. They want to have Aretha Franklin or the New York Philharmonic or their favorite music sound like it's in the house. Audiophiles crave an emotional, visceral connection with their music.
That pretty much sums up Margery Budoff's audiophile urges. Like most audiophiles I know, Margery had an unusually strong affinity for music at a young age. She described herself as "A child musician with an industrial design fetish." Even as a little kid she loved the look of stuff, especially older, big and clunky 1950s and 1960s record players.
The first record Margery bought was "Telstar," then Dionne Warwick, then the Rolling Stones. The record player was the thing that could "Decipher the secret code encrypted in the records. I wanted to hear the sound in all its glory. That's how I became an audiophile."
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