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

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446 Comentários   •  English   •   Leisure Interest (Hi-Fi)
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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.....
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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.....


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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.....
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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.

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hi-fi+ Global Network

Great mag Revisto 24 janeiro 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. Revisto 01 abril 2025

Really interesting

Very good magazine for all those fans of hi-fi information and news Revisto 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! Revisto 17 janeiro 2021

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Excellent magazine, well written articles, technically accurate, informative and entertaining. Revisto 17 janeiro 2021

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