I’ve found that a major downside of admitting that I’m an Apple fan is that I’m so often instantly pigeonholed as an effete ideologue. Like countless other examples, what’s true about a small proportion of Apple buyers has begun to dominate their detractors’ thinking, all but ensuring that any ensuing conversation is tainted by preconceptions.
I’ve had the good fortune to travel to a number of popular European cities in the past few years. Each has its own distinct personality, but I’ve found none of them -- including Amsterdam, Barcelona, London, and Madrid -- to be as pleasant as Munich. Everything is just so clean and well put together. It’s jarring for someone who lives in Philadelphia to see and experience such cleanliness. Philly is a city where character is really just a euphemism for “there’s an awful lot of trash blowing down the street” and “I just got yelled at in a semi-indecipherable dialect of English for something that wasn’t my fault.” I love my hometown for many different reasons. But between Munich’s cleanliness, the kindness of its inhabitants, and the seemingly carefree lifestyle -- at least around my hotel -- I know it’s a bit out of my league.
I know that many lament the slow decline of traditional high-end hi-fi, perhaps best exemplified by the funeral that was the Venetian Las Vegas at the 2017 Consumer Electronics Show. But for people who, like me, just want good sound for not a lot of money, it’s a great time to be an audiophile. When I travel to Munich, Germany, later this month for the 2017 edition of the High End show, I expect to see a wide variety of hardware that fits neatly within my budget and my current listening habits.
I love class-AB amplifiers. You get most of the midrange magic of the space heaters that are pure class-A amps, while also getting meaningful amounts of power. They’re not too big, not too expensive, and -- crossover distortion aside -- have no major limitations in sound quality. And a well-engineered class-AB amp should last for years, even decades.
In January, we opened the door to the possibility of buying a vinyl-playback system to those of you who’ve never had one. I discussed numerous considerations, and some of the nuts’n’bolts of turntable ownership. Today, we continue . . .
If you followed our live coverage of the 2017 Consumer Electronics Show on SoundStage! Global, it should come as no surprise to hear that CES 2017 was a disappointment for the high-end audio industry. While other media outlets waffled concerning the merits of CES -- or dodged the issue altogether -- SoundStage! Editor-in-Chief Jeff Fritz wasted no time in labeling it a “graveyard.” The next day, Jeff doubled down, condemning the city of Las Vegas as a “cesspool.”
If you read SoundStage! Access regularly, you’ve seen the increase in our coverage of vinyl and equipment to play it on. LPs have been on the rebound for over a decade now, and many listeners prefer the sound of vinyl to that of digital sources. If you’re new to vinyl, you need to know that buying and setting up a turntable is not as simple as with a new digital source. It takes some skill, forethought, and knowledge. This and March’s articles will give you the information you need to make a good choice.
A false narrative surrounds visions of the idyllic days of yore. People today are no less self-interested than they were a half-century ago, even if we may be more self-involved. Nor is the world any more dangerous than it has ever been. In fact, an argument could be made that we live in the most peaceful era in the history of our species. The existence of strife, discontent, and clear opportunities to improve our collective lot in life does not somehow imply that we should revert to the known but wildly imperfect quantities of our past. The familiar aromas of history, allied with our tendency to airbrush our memories in soothing sepia tones, make it an easy and comfortable alternative to the uncertainty of the future. Of course, the tension between the past and present has always existed, and those clinging to the former will, at one point or another, be left behind to rue how the world has gone to hell.
I jumped on the computer-audio bandwagon early and eagerly. I pivoted from a bush-league, big-box-store-bought Sony carousel CD player to a Benchmark Media Systems DAC1 USB -- the first Benchmark DAC with a USB input. Besides, after four years of college in the mid-2000s, I was listening far more to iTunes than to CDs. Back then, Apple’s iTunes was a passable front end, if only due to the lack of competition. Now, though, there are innumerable alternatives, on both the hardware and software fronts.
The CEDIA Expo is a trade show held each September by the Custom Electronic Design & Installation Association (CEDIA). For most attendees, it provides an opportunity to learn about the latest developments in home automation, to see the best and brightest new 4K-capable video projectors, and to hear spectacular, sometimes ear-splitting demos of object-based audio formats like Dolby Atmos and DTS:X. On the fringes of all this high-tech overload is a surprising amount of two-channel audio -- everything from integrated amplifiers to statement tower speakers. Happening as it does roughly midway between the annual January installments of the Consumer Electronics Show (CES), the CEDIA Expo also gives audio manufacturers a chance to unveil new gear that may have been only hinted at in Las Vegas.