Lately, I’ve been enjoying the SoundStage! Audiophile Podcast, which is hosted by Brent Butterworth, senior editor of SoundStage! Solo, and Dennis Burger, senior editor of SoundStage! Access. Brent and Dennis tackle a wide range of topics and do a ton of preparation for each episode. The production is polished, the discussions are well-informed and thought-provoking, and the presentation is casual and inviting.
I never wanted to purchase new speakers. I never wanted to go digital. It all happened by accident.
The greatest audio show on earth is back. After a two-year, pandemic-induced hiatus, the 2022 Munich High End show took place from May 19 to 22. The SoundStage! Network sent a four-person editorial team to Bavaria: founder and publisher Doug Schneider; editor-in-chief Jeff Fritz; Edward Kramer, editor of SoundStage! Australia; and Jonathan Gorse, a UK-based contributor to SoundStage! Ultra. Together, they filed 18 dispatches from Munich, which you can find on SoundStage! Global.
When it comes to consuming music, you can split the SoundStage! team into a few broad categories: those who are big into physical media, those who have fully embraced streaming, those who rely on downloaded and ripped music, and those with feet in all these camps.
Across the SoundStage! Network, you’ll find coverage of all kinds of audio products: high-end gear on SoundStage! Ultra, affordable components on SoundStage! Access, headphones and accessories on SoundStage! Solo, lifestyle audio here on SoundStage! Simplifi, portable Bluetooth speakers on SoundStage! Xperience, news and events on SoundStage! Global, and all manner of gear on the mothership—SoundStage! Hi-Fi.
One of the occupational hazards of writing for an audiophile website is a condition photography enthusiasts call GAS—Gear Acquisition Syndrome. After hearing about a new lens (or amplifier), you decide you really, really need this new toy, even though the gear you already own is more than adequate for your needs. During my adult life, I’ve experienced GAS hundreds—maybe thousands—of times, and succumbed to it more often than I care to admit.
Was 2021 the year that lossless and hi-rez music streaming became mainstream? Last year, Spotify promised it would start delivering lossless music, but failed to deliver. Three months later, Apple announced plans to offer lossless and hi-rez content, and started delivering shortly thereafter. Amazon Music HD had been offering lossless and hi-rez music since 2019; but following Apple’s move, Amazon reduced its price for the service. These aggressive moves by major providers like Apple and Amazon led several smaller streaming services to revamp their own pricing plans in 2021.
Today is Simplifi’s birthday. Five years ago, on New Year’s Day 2017, the SoundStage! Network launched a site dedicated to “convenient, lifestyle-oriented hi-fi” with a short feature by Al Griffin, entitled “Why Simplifi.”
Most audiophiles know Canada’s Lenbrook Industries for its three audio brands: PSB Speakers, NAD Electronics, and Bluesound multi-room streaming products. Fewer people know Lenbrook as a software developer. But the fact is that Lenbrook’s BluOS software platform is a key component of many of its products—not just the Bluesound multi-room components for which BluOS was originally created, but also NAD integrated amplifiers, preamplifiers, AV receivers, and a multi-zone streamer targeted at the custom-integration (CI) market.
On May 28, 2020, Tidal announced that it was rolling out Dolby Atmos Music for home-theater systems. Nearly a full year later, on May 17, 2021, Apple Music announced that, along with lossless audio, its catalog would support spatial audio, which also uses Dolby Atmos. For Tidal, Dolby Atmos Music is included in the higher-tier HiFi subscription at $19.99 (all prices in USD) per month for a single subscription ($29.99 for up to five additional family members). For Apple Music, spatial audio and lossless audio are included in the $9.99 plan ($14.99 per month for up to five additional family members). For most audiophiles, the biggest draw would be lossless audio—the company was joining niche providers such as Tidal and Qobuz, but Apple’s pervasive influence brings it to a much wider audience.
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