Está viendo la página Spain versión del sitio.
Le gustaría cambiar a su sitio local?
<  Última edición


Free Sample Issue
Pruebe una muestra GRATIS de hi-fi+ Global Network
Pruebe una muestra GRATIS de

hi-fi+ Global Network Magazine hi-fi+ Issue 255 Edición anterior

English
446 Reseñas   •  English   •   Leisure Interest (Hi-Fi)
Only €5,99
We are getting ever closer to the goal of ultimate fidelity; where a recording and the live sound are so close to one another that they are functionally identical. However, I experienced a couple of live events recently, and that demonstrated how far we still have to go.
... these were gigs by bands like My Bloody Valentine and Mogwai. They were handing out ear defenders at the door (I brought my own). Regardless, even with enough ear defence that my hearing remained resolutely undamaged, the visceral experience of standing in front of one of these post-rock and shoegazy bands playing at mind-numbingly powerful levels is something that’s almost impossible to replicate in the home.

Good ear defence notwithstanding, Mogwai made my teeth go deaf for a few days. That is not a live, unamplified event; it’s a live event with all the amplifiers. Think of that scene from Oppenheimer, but with sound instead of a nuclear bomb. While no one would want that kind of piledriver sound regularly, it remains elusive in the home.
Strangely, what many cite as the main reason for choosing a good audio system is one of the least important in a live environment; soundstaging. In audio systems, we often strive for pin-point, holographic placement of instruments within a three-dimensional space. When done properly, the speakers disappear; close your eyes and you are transported to the space where the recording took place. Except that, in that space, you don’t tend to be too fussed about placement of instruments within a soundstage. In both live events described above, there was little or no imaging information to be had, but I knew instinctively that I was at a live event. Even sound reinforcement doesn’t detract from that sense of a live performance.
I don’t think our love of imaging is ‘barking up the wrong tree’, but I think maybe the secret to getting a little closer to the live event lies elsewhere. It seems as if dynamic range and temporal information might hold the key.....
read more read less
hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages hi-fi+ Global Network Preview Pages

hi-fi+ Global Network

hi-fi+ Issue 255 We are getting ever closer to the goal of ultimate fidelity; where a recording and the live sound are so close to one another that they are functionally identical. However, I experienced a couple of live events recently, and that demonstrated how far we still have to go. ... these were gigs by bands like My Bloody Valentine and Mogwai. They were handing out ear defenders at the door (I brought my own). Regardless, even with enough ear defence that my hearing remained resolutely undamaged, the visceral experience of standing in front of one of these post-rock and shoegazy bands playing at mind-numbingly powerful levels is something that’s almost impossible to replicate in the home. Good ear defence notwithstanding, Mogwai made my teeth go deaf for a few days. That is not a live, unamplified event; it’s a live event with all the amplifiers. Think of that scene from Oppenheimer, but with sound instead of a nuclear bomb. While no one would want that kind of piledriver sound regularly, it remains elusive in the home. Strangely, what many cite as the main reason for choosing a good audio system is one of the least important in a live environment; soundstaging. In audio systems, we often strive for pin-point, holographic placement of instruments within a three-dimensional space. When done properly, the speakers disappear; close your eyes and you are transported to the space where the recording took place. Except that, in that space, you don’t tend to be too fussed about placement of instruments within a soundstage. In both live events described above, there was little or no imaging information to be had, but I knew instinctively that I was at a live event. Even sound reinforcement doesn’t detract from that sense of a live performance. I don’t think our love of imaging is ‘barking up the wrong tree’, but I think maybe the secret to getting a little closer to the live event lies elsewhere. It seems as if dynamic range and temporal information might hold the key.....


SELECCIONAR FORMATO:
Acceso instantáneo

Ofertas digitales disponibles:

Ejemplar digital único hi-fi+ Issue 255
 
€5,99 / issue
Este número y otros números atrasados no se incluyen en un hi-fi+ Global Network suscripción. Las suscripciones incluyen el último número de la revista y los nuevos números publicados durante el periodo de suscripción. €2,50 por número . Si desea suscribirse, consulte nuestro Opciones de suscripción
Los ahorros se calculan sobre la compra comparable de números sueltos durante un periodo de suscripción anualizado y pueden variar respecto a los importes anunciados. Los cálculos son meramente ilustrativos. Las suscripciones digitales incluyen el último número y todos los números regulares publicados durante su suscripción, a menos que se indique lo contrario. El periodo elegido se renovará automáticamente a menos que se cancele en el área Mi cuenta hasta 24 horas antes del final de la suscripción actual.

hi-fi+ Global Network issue hi-fi+ Issue 255

hi-fi+ Global Network  |  hi-fi+ Issue 255  


We are getting ever closer to the goal of ultimate fidelity; where a recording and the live sound are so close to one another that they are functionally identical. However, I experienced a couple of live events recently, and that demonstrated how far we still have to go.
... these were gigs by bands like My Bloody Valentine and Mogwai. They were handing out ear defenders at the door (I brought my own). Regardless, even with enough ear defence that my hearing remained resolutely undamaged, the visceral experience of standing in front of one of these post-rock and shoegazy bands playing at mind-numbingly powerful levels is something that’s almost impossible to replicate in the home.

Good ear defence notwithstanding, Mogwai made my teeth go deaf for a few days. That is not a live, unamplified event; it’s a live event with all the amplifiers. Think of that scene from Oppenheimer, but with sound instead of a nuclear bomb. While no one would want that kind of piledriver sound regularly, it remains elusive in the home.
Strangely, what many cite as the main reason for choosing a good audio system is one of the least important in a live environment; soundstaging. In audio systems, we often strive for pin-point, holographic placement of instruments within a three-dimensional space. When done properly, the speakers disappear; close your eyes and you are transported to the space where the recording took place. Except that, in that space, you don’t tend to be too fussed about placement of instruments within a soundstage. In both live events described above, there was little or no imaging information to be had, but I knew instinctively that I was at a live event. Even sound reinforcement doesn’t detract from that sense of a live performance.
I don’t think our love of imaging is ‘barking up the wrong tree’, but I think maybe the secret to getting a little closer to the live event lies elsewhere. It seems as if dynamic range and temporal information might hold the key.....
Seguir leyendo leer menos
hi-fi+ is Europe’s premier English-language high-end audio magazine. Whether it’s the latest in digital audio technology or the best turntable you’ve ever heard, hi-fi+ magazine is the ultimate audiophile authority.

Our goal is clear; to seek out the finest audio components money can buy. Music is the soundtrack to all our lives and we think that the better that soundtrack, sounds the more enriched our lives can be. A good audio system can open up new avenues of music that might surprise you. We don’t differentiate; it could be a classic valve amplifier or a state-of-the-art music server – if it sounds good, we want to know and we want to tell you about it. The difference between good sound and great sound lies in the details… and we are obsessive about detail.

We aren’t constrained by measurement or bogged down in stuffy old paradigms. We are relevant and a little bit irreverent. Hi-Fi+ features some of the best writers in the business, all passionate about making music sound as good as it possibly can. We seek out the finest audio components – and the latest and greatest music – and aren’t afraid of finding the best, whatever the cost.

omo abonado recibirá las siguientes ventajas:


•  Un descuento sobre el PVP de su revista
•  Las nuevas ediciones se envían a tu dispositivo el día de su lanzamiento
•  Nunca te perderás un número
•  Estás protegido de las subidas de precios que puedan producirse más adelante en el año

Recibirás 12 problemas durante un año hi-fi+ Global Network suscripción a la revista.

Nota: Las ediciones digitales no incluyen los artículos de portada ni los suplementos que encontraría en los ejemplares impresos.

Su compra aquí en Pocketmags.com puede leerse en cualquiera de las siguientes plataformas.


Puedes leer aquí en el sitio web o descargar la aplicación para tu plataforma, sólo recuerda iniciar sesión con tu nombre de usuario y contraseña de Pocketmags.

Apple Pocketmags Online Pocketmags Google Pocketmags
La aplicación Pocketmags funciona en todos los dispositivos iPad y iPhone con iOS 15.6 o superior, Android 8.0 o superior y tabletas Amazon Fire de 2018 en adelante, aunque los propietarios de modelos Fire anteriores pueden consultar la Amazon Appstore directamente en su dispositivo para confirmar la compatibilidad. Para los usuarios de iOS, recomendamos utilizar un dispositivo capaz de ejecutar la última versión de iOS para un rendimiento y estabilidad óptimos, ya que el hardware más antiguo con menor potencia de procesamiento y memoria RAM puede experimentar una renderización de páginas más lenta o problemas ocasionales de estabilidad debido a las limitaciones de memoria del dispositivo. Alternativamente, nuestro lector web funciona con cualquier navegador moderno compatible con HTML5, aunque recomendamos Chrome o Firefox para disfrutar de la mejor experiencia en PC y Mac.
4,3
/5
Basado en 446 Opiniones de los clientes
5
218
4
163
3
53
2
7
1
5
Ver comentarios

hi-fi+ Global Network

Great mag Revisado 24 enero 2026

hi-fi+ Global Network

Hi Fi + has a much more friendly user interface than The Absolute Sound, which is a pain to read online. Revisado 01 abril 2025

Really interesting

Very good magazine for all those fans of hi-fi information and news Revisado 09 abril 2022

Hi-Fi+

Well, over the (many) years as an Audiophile, I have read (many) Audiophile magazines...My first impressions of Hi-Fi+ came from reading a printed issue (unfortunately, landed to someone who should have sent it back to me but didn't), but that issue whetted my appetite, so I paid for the digital edition. Great reviews, of important products, well-written....very satisfied. Will re-activate my subscription when it expires (in two month's time). Thanks a lot! Revisado 17 enero 2021

Hi-Fi+

Excellent magazine, well written articles, technically accurate, informative and entertaining. Revisado 17 enero 2021

Artículos de este número


A continuación encontrará una selección de artículos en hi-fi+ Global Network hi-fi+ Issue 255.

Free Sample Issue
Pruebe una muestra GRATIS de hi-fi+ Global Network
Chat
X
Soporte Pocketmags