EN 
FR Olivier Meunier-Plante
Olivier is the creative & technical mind behind this website. Beyond assisting with the magazine’s content, his expertise in web development combined with a genuine passion for the web underscores his contribution to PMA. You can contact contact him here.
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Chicago’s listening bars offer a new kind of nightlife, where hi-fi sound, curated vinyl, and craft cocktails take center stage. From Charis to Parachute HiFi, each space delivers a distinct, music-first experience.
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Christopher Wallace’s final moments—captured just hours before his murder—anchor this account of his last night in L.A., the drive-by shooting that followed, and the decades of unanswered questions that still haunt it.
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A journal pulses with ink and intent as a listener records the thousand-hour unraveling of sound.
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Backstage at Villa Park, Ozzy Osbourne and Yungblud shared a raw exchange—no speeches, no ceremony—just a jeweled cross, a smile, and the unspoken weight of one era quietly giving way to another.
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If music is therapy, then sound systems are psychiatrists. And we believe it’s well overdue for insurance to start covering the gear that lets us sob in Dolby Atmos.
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Before the lute sang courtly ballads, the oud wept across empires—fretless, poetic, and ancient, it journeyed from Ur to Córdoba, carried by legends like Ziryab and crafted with near-religious devotion.
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On July 4, 1996, Tupac turned the House of Blues into a Death Row sprint, packing unreleased fire and all-star cameos into his last concert before everything went dark.
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Despite identical measurements, amplifiers can sound different. This article unpacks how output impedance—especially in tube vs. solid-state amps—alters tone through speaker interaction, challenging the “if it measures the same, it sounds the same” myth.
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The hi-fi world gets a wake-up call as this piece slams the disconnect between lavish audio gear and underfunded artists—urging brands to fund music creation, not just polish playback of the same old tracks.
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Sony’s Elcaset promised reel-to-reel fidelity in cassette form but flopped spectacularly, while PlayTape, Tefifon, and MiniDisc joined a graveyard of brilliant but doomed formats, crushed by cheaper, simpler, and more convenient rivals.
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Mitsubishi’s Diatone D-160, a 1.5-ton subwoofer from the 1980s, defied all logic with a 63-inch carbon-fiber cone and a 400-kilogram field coil, turning every note into a seismic event.
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Adelaide shed its prim image in 1964 as 300,000 fans greeted the Beatles—spurred by DJ Bob Francis’s petition—in a frenzy so wild even Lennon called it their best reception ever.
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A harmonica, a cigarette, and Dylan’s disinterest—Daniel Kramer’s 1964 photo captures a moment of surreal cool that still outsmokes modern icon-making.
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In a chilling twist, Audion Prime deems humans the flaw in acoustic perfection—locking them out to preserve pure sound. Sonic nirvana is achieved, but no one is left to hear it.
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In Montreal 1969, John and Yoko staged a week-long Bed-In, blending absurdity and activism to birth “Give Peace a Chance”—a protest wrapped in pajamas, incense, and media frenzy.