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PeterG

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    Cambridge, MA

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  1. I'm a big fan of AS, but I must say this makes me uncomfortable--you will be reviewing a product on which you are directly benefiting from the sale.
  2. This is really well put on a couple of levels. If Tune Tots sound like Wilsons (say, almost Sabrinas), they are priced fairly. Frankly, I'm bewildered by posts that suggest there is any test of value beyond sound, appearance, and room placement flexibility. But whether or not you think they are priced fairly, if they are too rich for your blood, there are plenty of great speakers that cost less.
  3. PeterG

    My Dad

    My Dad, age 87, a fan of opera, classical, and jazz decades ago, but without a stereo since the 1970s and completely inexperienced in modern hifi, reminded me yesterday of the true beauty of our hobby. While we were sitting quietly on my patio, he suggested that I "get some Bose speakers out here". Realizing that I had never played my McIntosh tubes/B&Ws for him, I shook my head, led him inside and sat him down in the sweet spot for Morgan James singing Nina Simone. At first he looked a bit confused, then started rolling his head and smiling, then looked more confused, adjusted his hearing aids and said "she can't sing THAT well". (i.e. it sounds so good, there must be a trick) ...A beautiful moment, and certainly the best best response I've ever heard from anyone on any hifi. It doesn't take take years of engineering, or training, or a golden ear to appreciate great sound--it only takes open ears and an artistic soul.
  4. Hi Josh, Just when I thought you couldn't top the selection of Aja! Enjoying my Fish People version as I read/respond; I will pick up 2018 soon. You might consider Talking Heads's Remain in Light for a future column. Like Hounds it is a complex and multilayered classic. But a recent listen to Angelique Kidjo's magnificent reinterpretation shows (at least my copy of) the original to be muddled. It deserves the The Best. Cheers!
  5. Burn in and warm up are two different things. More importantly, you might consider a Transparent Powerbank 6 for protection of your system--they guarantee component replacement, and I don't think you will notice any difference in sound.
  6. Emily King--WOW--thanks for the tip! Just ordered the new CD and about to buy a pair of tix to see her in Cambridge. Good luck with your expanding family--in just a few years you can take your "baby" to concerts--you'll drag her to Emily King, she'll drag you to Taylor Swift. You'll have a blast at both....That's love!
  7. Nice write up! I especially appreciate a bits is bits guy acknowledging that it is not always the case, and also like seeing China come in with an audiophile-level component. Cheers!
  8. Nina Simone and Joni Mitchell both delivered by Morgan James. Surprised no mentions yet, Morgan's sold a lot of systems at my local dealer: http://www.morganjamesonline.com/music/
  9. Having dissed your video format before, I must now admit that it works very well for this type of thing. Nice job!
  10. Congratulations, Chris! It's a pleasure to be on the site and also to see an entrepreneur succeed at something he loves. But I don't believe you when you say digital will always be the focus. The guy who wanted a TAS system 20 years ago, now wants to crush TAS (in very friendly and respectful way). That's awesome. But for Audio Style to have enough audiophile style to topple the old regime, it will need to pursue beautiful sound with every tool available. I look forward to cheering you on!
  11. You raise an interesting philosophical question--should we evaluate a system's ability to reproduce art which is (presumably) created to move us by removing the system's ability to move us? My answer would be absolutely not, but there are obvious arguments on both sides of the equation and I would not expect unanimity on this point. To the specific remedy you propose--a system's ability to reproduce voce is critical, but so is a system's ability to reproduce bass and everything else in between. So I would describe your voice test as perhaps helpful but not sufficient.
  12. Sadly, digital room correction also comes at a sonic price. I tried the McIntosh MEN220 ($5K would not have been a problem, see previous post on wife's eyebrow). The bass and transients were better, quicker, sharper. But the mids and highs, especially voices, lost texture and a bit of sparkle (to use a technical term). My take--for certain combinations of room/existing system/musical tastes it could be a definite plus--but with my room/system/library/ear, it was a definite minus overall.
  13. Hi Joe--nice post. A couple of thoughts. First, I agree completely, that engineering, recording, mixing, etc is WAY more important than format, at least once we're at PCM. The loudness wars are my personal bogeyman in all of this. It is terribly sad that so many artists are reduced (or reduce themselves). Second, I take issue with your argument on the room. I agree that the room is critical. But the room is often not controllable, or controllable only at great expense. While $1,000 dollars in bass traps, just for example, might get be better bang for the buck than $10,000 on a new DAC or power treatment or whatever; you are assuming that each of us has complete control over the room itself. But architecture and wives have a say on the room that can be more in the $100,000 to $1,000,000 range. Seriously, I could drop $10,000 on a DAC, and my wife would barely raise an eyebrow, but it would be a complete nonstarter to drape the living room in treatments.
  14. I cannot speak to the MoFi versions, but the recent Original Mono 6 CD box set is incredibly good compared to whatever stereo versions you might have. They are a must buy for any Dylan fan. Once you've heard the mono, you will only hold on to the stereo versions so that you can tell yourself you would have done a better job mixing that Dylan's guys (haha).
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