In the last of our series celebrating the work of those masters behind the mixing desk, Steve Sutherland tells the story of not one producer but a hip-hop production team whose looping and layering of samples revolutionised the way records were made
On this particular point, Chuck D is unequivocal. 'Our sole intention was to destroy music'. The record he's talking about, released in June 1988, is hip-hop giants Public Enemy's second LP, It Takes A Nation Of Millions To Hold Us Back.
The dedicated music server is in the ascendant, and every company has a different twist on the idea. In the case of Dutch company Grimm Audio, the twist is especially unusual
The continued rise of network audio has created a new game in the hi-fi world, best summed up as 'Yes, but what is it?'. You see, all sorts of network-capable devices exist right now, and it seems each of them has a somewhat different approach. For example, perhaps the best-known name in 'audiophile servers' or 'music libraries', Melco, started out by making products designed to feed network players over a network connection, paying close attention to the isolation and optimisation of the Ethernet feed. It then reinvented itself as a maker of network transports, connecting directly to a suitable DAC using a USB output, again with isolation strategies implemented.
Five years on and Wilson Audio's Sabrina earns its 'X' – an overhaul that raises the bar for compact floorstanders
Five years – that's how long ago the Sabrina was launched and five years seems about right before making a new version of any model as good as the original was – and remains [HFN Aug '15]. Rightly, the upgrade is comprehensive, not a mere facelift, which is reassuring if you're wondering why a £15k per pair model is now priced at £21,500-£23,000. As for the price span, it covers three standard or three deluxe 'WilsonGloss' paint finishes, which can be co-ordinated with five grille colours. Our review sample is pictured here in the 'upgraded' gloss Ivory.
This month we review and test releases from: Clandestine Amigo, Berliner Philharmoniker/Kirill Petrenko, Lady A, Francesco Piemontesi, SCO/Andrew Manze and Olive Brown.
This month we review: Hallé Orchestra/Sir Mark Elder, Akademie Für Alte Musik Berlin/Bernhard Forck, Sinfonia Of London/John Wilson and Cleveland Orchestra/Franz Welser-Möst.
In 1977, as Britain came alive to the sounds of jazz-funk and punk, a Japanese receiver arrived on UK shores promising unbeatable tech at the price. How does it sound now?
Say 'Aiwa' to most audiophiles and the chances are they'll think of cassette decks. The company was one of the first in Japan to take the format seriously and later went on to lead the field, selling machines not only under its own name but as OEM products for many other brands. So why not branch out into the rest of the audio field?