A common fallacy in the high-end audio world is that if you buy better, higher resolution gear all of your recordings will sound better. The short answers is, they won't. Higher resolution invariably exposes more flaws in recordings you already knew were flawed, but what's more uncomfortable is that you'll also hear "new" flaws in recordings that sounded pretty good previously. Some of these might be your favorite demo cuts, which really sucks. And of course, your best recordings will scale new heights entirely, but which turn out to be which is often unpredictable.
Recent doings at Circuit City may be of interest in the wake of the mass firings reported here and elsewhere. The story became a Primedia trifecta--covered here, on the Stereophile site, and on the Ultimate AV site--in addition to wide coverage elsewhere including a stern editorial in the New York Times.
Features We Like: Two HDMI 1.1 inputs (PCM-audio compatible), three component inputs, EzSet/EQ auto calibration and room EQ, three each coaxial and toslink optical digital audio inputs, one 7.1-channel analog audio input, XM Ready, USB Audio and iPod connectivity, AV sync delay, A-BUS Ready, multi-source/multi-zone
From the time it was first announced all the way through the previews, reviewers and the general public alike roundly derided the idea of another Rocky movie. Stallone, now 60, still boxing on-screen?
Wide Open
The Doors’ Perception breaks on through.
The Doors’ self-titled first album was in an altogether darker, more theatrical, sinful, and sexual musical realm than anything heard in 1967. It was one hell of a debut, and, 40 years on, it still sounds incredibly unique. The band functioned with a collective spirit, and its four members—Jim Morrison, vocals; Ray Manzarek, keyboards; Robbie Krieger, guitar; and John Densmore, drums—shared songwriting and arranging credits on most of the tunes.
