A contributor for 30 years and editor for the last 10, Paul Miller oversaw the return of Hi-Fi News & Record Review to its specialist roots and yellow border and re-established its technical prowess on the world stage. He's tested more hi-fi than anyone in the business. Not bad for an ex-organic chemist. Paul is also the President of EISA.
Ever wondered how reviewers built up their systems, and what their rooms are like? And how did they develop their reviewing techniques? Welcome to the listening room of the most influential and certainly the most entertaining writer in audio: Ken Kessler
A sequel to their demanding Adès/Nørgård/Abrahamsen ECM album [HFN Dec ’16], this is a self-produced, helpfully annotated 16-track collection of mainly Nordic folk music, arranged by the group and including a reel after Dowland, ‘Shine You No More’, by the leader, Rune Tonsgard Sørenson. To add textural variety, he also plays harmonium, piano and glockenspiel. And cellist/bass player Fredrik Schøyen Sjölin contributes three compositions, ‘Shore’, ‘Intermezzo’ – especially delightful – and the unwinding ‘Naja’s Waltz’ with pizzicato backing. The traditional pieces also include ‘Unst Boat Song’ from the Shetlands and the Faroese ‘Stædelil’.
That sombre cover portrait sets the tone for Benny Andersson’s latest solo project, which consists of 21 tracks from his decades-long career reinterpreted for piano. The mood is generally melancholy, and the album largely concentrates on Andersson’s post-Abba material, including songs written for musicals such as Chess, as well as his current ‘group’ – the Benny Andersson Orkester. Inevitably, though, it’s the handful of familiar Abba classics that stand out. The piano version of ‘My Love, My Life’ lacks the lush harmonies of the original, but the bittersweet melody still shines through.
The Expert Imaging and Sound Association celebrates the year's most desirable hi-fi hardware
Welcome to the EISA Awards for 2018-2019.
For over 30 years EISA has been selecting the most innovative, cutting-edge products for its prestigious EISA Awards. The Awards are debated and voted upon by groups of specialist judging panels covering the full spectrum of consumer electronics and photographic products, including Hi-Fi, Home Theatre, In-Car Electronics, Photo, Video and Mobile Devices. Key to the success and relevance of the annual EISA Awards lies in the evolution of its categories, always reflecting the changing trends and technologies of the consumer electronics world.
The time when the Manfred Symphony was cut (Toscanini, Kletzki) or worse, cut and pasted (Ahronovitch), has long gone; and it now seems it was Balakirev who first suggested replacing harmonium with organ in the finale – which nearly all conductors do (Markevitch excepted). In this marvellous recording from Prague’s ample Rudolfinum it’s the way Bychkov integrates all those finale episodes and flashbacks into a coherent whole that impresses most. Back in 1972 a HFN editorial review suggested that Decca’s earlier VPO/Maazel version ‘would be unlikely to be surpassed’ as an orchestral recording – but it clearly is by this one over 45 years later! Bychkov’s is a powerfully dramatic account with a glowing richness missing from Pletnev’s cooler Pentatone Manfred with the Russian National Orchestra, which we also reviewed in this section [Album Choice, HFN Jun ’14]. CB
Sound Quality: 90%
Hi-Fi News Lab Report
Digital throughout (recording, mixing and mastering) and mercifully free of obvious distortion or compression, this file still shows some low-level (<–80dBFs) spuriae, particularly 20kHz-48kHz.
Launched in 1980, these slimline separates proved just the tonic for those seeking sophisticated sonics wrapped in eye-catching casework. How do they sound today?
Who buys top quality hi-fi equipment? First there is the audiophile, who is willing to devote considerable resources in the pursuit of components that deliver what he or she regards as the best sound quality for a given budget. There was once also a largely non-technical group who had equally high musical expectations. Wealthy and design conscious, they wanted complete systems that not only sounded good but looked good too, and included all the latest technological refinements.
As one of Quad's longest-serving employees hangs up his soldering iron, Ken Kessler talks with Ken Bunting about a lifetime working on iconic kit
It was 15 years since I had interviewed Ken Bunting, in charge of Quad's service department, but back then it was to pick his brains about the company's history. Early this May, I had the privilege of repeating the interrogation, on the occasion of Ken's retirement. Off to the wilds of Cambridge, where I found him on his last day, in a busy-as-ever service area with everything from Quad ESL63s to valve units being repaired – contrary to any rumours or worries that the company had abandoned its legendary back-up division.