LATEST ADDITIONS

Wes Phillips  |  Aug 16, 2010  |  1 comments
Ah, how the times change. When I reviewed Etymotic Research's ER-4S in-ear headphones in the July 1995 Stereophile, they seemed expensive to me at $330, but well worth that seemingly high price: at the time, they were the best headphones I'd heard. Nowadays, with reference headphones costing well north of a kilobuck, the price of the ER-4S seems relatively reasonable.
jon iverson  |  Jun 21, 2010  |  0 comments
YBA Design's new WD202 D/A processor and headphone amplifier showed up while I was turning the pages of Don and Jeff Breithaupt's Precious and Few: Pop Music of the Early '70s, recommended by John Marks in his October 2009 "Fifth Element" column. Each page drips with great examples of why the 1970s often wind up on the wrong end of the culture stick (the Osmonds, anyone? Terry Jacks?).
John Atkinson  |  Jun 14, 2010  |  0 comments
I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of dCS Puccini U-Clock and Puccini player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the Bel Canto USB Link 24/96 and Stello U2 USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a Benchmark DAC1 D/A headphone amplifier.
Jim Austin  |  May 03, 2010  |  0 comments
Here's a question for a Stereophile.com poll: What's the best hi-fi value of the last 15 years? I'd bet that, 16 years after its introduction, Grado Laboratories' SR60 headphones would get more than a few votes.
Stephen Mejias  |  Mar 18, 2010  |  1 comments
I was looking out the window. I was waiting for the plane to take off. I was wearing Monster Cable's Beats by Dr. Dre Studio headphones ($349.95). I was listening to Pens' burning, fuzzed-out, 27-minute onslaught, Hey Friend, What You Doing? (320kbps MP3; LP, De Stijl IND071). I was shouting with sudden shock and pain.

"Ow! What?"

My brother-in-law had reached across the aisle and punched me in the leg. He'd been trying to get my attention for a while.

"How do the headphones sound?"

"They sound good, jerk. I couldn't hear a thing you were saying." Apparently, the Beats' noise-canceling feature was working as advertised.

Jim Austin  |  Sep 21, 2009  |  2 comments
Designed to be used onstage by musicians monitoring their sound and mix, in-ear monitors (IEMs) such as the new Westone 3 are great in situations where you want to hear nothing but the music. They're small and portable, and their high efficiency and easy impedance load mean they work well with portable players. IEMs are better than electronic-feedback, noise-reducing, closed circumaural phones at blocking out airplane engine noise and annoying neighbors who want to chat. They're also more compact, sound better, and don't require batteries.
John Atkinson  |  Sep 21, 2009  |  0 comments
I got early into personal stereos. I lost my driving license for a while in the mid-1970s—something about a stop sign and "failure to observe"—so I used to take the train to a regular bass-playing gig I had in Brighton, on England's south coast. Not only did I conclude that any audio magazine worth its cover price had to have enough meat in it to last the two-hour journey and back again, I also built myself an op-amp–based, battery-powered amplifier to drive a pair of RadioShack headphones. Desperate times called for desperate measures, and my only source was a mono cassette recorder. Inside-the-head mono is as mono desperately does, so once I got my license back, it was back to the car and stereo FM radio. It wasn't until a) I moved to New York City to become a strap-hanging commuter and b) bought a 2003-vintage 30GB iPod (which I still use) that music on the move again began to play a major role in my listening.
John Atkinson  |  Sep 21, 2009  |  3 comments
Phiaton is the brand name used by the South Korean Cresyn Company. Wes Phillips reviewed Phiaton's conventional closed-back Moderna MS 400 headphones in January 2009 and was as impressed by the sound quality as he was by their appearance. The PS 200 ($249), the only in-ear headphone sold by Phiaton, also has a striking appearance: the black rear face, which is all someone sitting next to you in the subway will see, resembles the turbine blades of a fan-jet engine. There are two balanced-armature drive-units, with a passive crossover network.
Sam Tellig  |  Aug 05, 2009  |  0 comments
Roy Hall has been Creek Audio's US importer for more than 20 years. Did you know that all Creek gear is now made in China? Just like Cambridge Audio, Quad, and many B&W models. Just like some US speaker brands, for which virtually all parts are made in China but are assembled, it's claimed, in the US. Three cheers for brands like LFD, Rega, Sugden, and Harbeth—all still made in the UK. For French marques made in France. For Italian products produced in Italy. Etc.
Wes Phillips  |  Jul 14, 2009  |  1 comments
Sennheiser's long-awaited (seven years) HD 800 sure isn't subtle—at least, not in appearance. The HD 800's large earpieces are made from a combination of absorbing composites and functional metal accents, and are huge. Of course, they have to be to house the 56mm ring-radiator transducers—and to mount them so they're firing "back" to your ears from the front. Also not subtle is the price: $1399.95.

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