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About ARQuint

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  1. When I was organizing my capital (that is, scrounging up the money) to buy the M2s earlier this year, I started to feel guilty about owning two such wonderful amplifiers as the XA 60.8s and the Quadrature Zs. Both are designed by musically sensitive but no-nonsense engineers, with neutrality as a key goal. The Pass amps and the Bernings are both uncolored and accomplished at controlling medium-sensitivity speakers that I didn't feel anything was lacking as I used the 60.8s with speaker after speaker. I was barely listening to the Bernings, and decided to list them on AudioGon. The
  2. I was a Fanfare reviewer for 19 years and was their Wagner video guy for around ten. So being both a Wagnerian and an audiophile, I felt I had to get to Bayreuth. It was so remarkable I went twice. The first time resulted in an article that's among the things I've written I'm proudest of: "Wagner, the Festspielhaus, and the Audiophile Lexicon" in TAS issue 145 (Dec 2003/Jan 2004.) Immediately after each performance—I went to seven that year over about a week-and-a-half—I wrote down my impressions of the aural experience, trying to use the language all of us use to describe how good equipment
  3. Happy to say that I do know Doug and visited his place for the first time just a couple of weeks ago. I was bringing him a DAC to try out as a potential product that I'd just finished with. I ended up staying much longer than planned: that room of his is certainly "dialed in!"
  4. It's odd that (other than Sam Ramey) nobody is listing what, for lack of a better term, are referred to as "classically-trained voices". If opera and art song are musical genres you care about, you'll have some strong opinions. Despite the OP's parameter that recording quality doesn't matter, I'm reluctant to name singers with voices documented only with primitive recording methodology—Caruso, Melba, etc. So, for me, how about four, one for each major voice type? As with non-classical singers, I feel choices should be made based on three metrics: the "God-given" instrument, technique, and musi
  5. Sigh. Another audiophile with low self-esteem.
  6. With better-than-Red Book resolution recordings, I'm of the opinion that it's the bit-depth that matters in terms of SQ, more so than the sampling frequency, and I know at least some recording engineers feel this way. At TAS, our working definition of "high-resolution" is a PCM recording with a bit-depth of 24, whether the sampling rate is 44.1, 48, 88.2, 96, 176.4, or 192—or any DSD-encoded master. Andy Quint
  7. For some time, most new recordings (and the vast majority of classical) are recorded in 24-bit formats. A smaller number as DSD. HD downloads from HDtracks, eClassical, Naxos, Super Hi-Rez, Native DSD, etc, etc are appealing as, with the fading away of SACD and the failure of music-only Blu-ray to catch fire, usually there's no disc version available at the recorded resolution.
  8. Within my Cable Closet, a subsystem for organizing the cables. My wife wants to know why I just keep all my shoes in an undifferentiated pile at the bottom of my clothes closet.
  9. Kal had a column called "Music in the Round" for 16 years in Stereophile. You can read many of them on the Stereophile web site for free—KR "retired" from producing the column after 100 installments last Fall. And do have a look at the video, linked above—Kal specifically addresses the "two ears" canard.
  10. I know how you feel. Fortunately, there's this. At RMAF 2018, Kal and I (and Brian Moura of Native DSD) participated in a seminar on multichannel for interpid audiophiles. Here's the link: 54 minutes, you say? What else do you have to do?....
  11. Now you're in for it. Tell him why it doesn't matter that he only has two ears, Kal. I'll watch from behind a tree.
  12. Lazy? Enthusiasts like you and me want to hear about new products and technologies at the earliest possible point in their development or commercial introduction—that's why it's "News." Reporting from trade shows and passing along announcements from manufacturers are two ways audio magazines accomplish this, always underscoring that these are narratives controlled by those presenting them. ("The following is a press release issued by…") They are short and sweet and obviously don't substitute for a full consideration, that is, a review.
  13. A valid point, and thanks for expressing it without ire. It assumes, of course, that MQA, Ltd. has a plan for World Domination. I honestly don't know if that's the case. BTW, I have never received any kind of editorial direction vis-a-vis MQA when I get an MQA-enabled component for review which, admittedly, hasn't been very often. I've had no contact at all with Lee Scoggins (once, in this thread, a fierce MQA advocate) and don't see any change in our coverage—or lack thereof—of the technology since he came aboard.
  14. That's my point. You're clearly not a Hydrogen Audio kind of guy. There's an inconsistency to the vitriolic response of the most riled-up of anti-MQA posters when compared to their view of other allegedly "debunked" technologies. A year ago in this thread, the most incensed of the anti-MQA folks were calling requests for civility a "deflection". Now pointing out inconsistencies in their attitudes towards different technologies with a disputed science/engineering basis is "deflection." It's perhaps a useful short-term debate strategy but ultimately one that doesn't hold water.
  15. So publishing a press release from MQA, Ltd. Is an ethical lapse? I think you're on a proverbial slippery slope here. How about these manufacturer announcements regarding other products that some righteous souls characterize as "snake oil"? Also ethical lapses? http://www.theabsolutesound.com/articles/yg-acoustics-introduces-first-audio-rack-series/ http://www.theabsolutesound.com/articles/wireworld-introduces-second-generation-flat-ethernet-cables/ http://www.theabsolutesound.com/articles/audience-next-generation-powerchord-models-the-new-au24-sx-au24-se-i-and-se-i-ac-power-c
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