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Once a cable skeptic, Gilles Laferrière confesses a shift in thinking—questioning whether thousands of audiophiles could really be fooled. He explores how luxury pricing, perception, and experience reshape the contentious debate over high-end audio cables.
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From jump blues and Ray Charles’s boundary-breaking “What’d I Say” to the polished hits of Motown and gritty grooves of Stax, this sweeping history traces soul music’s rise—and disco’s roots—in a racially and musically transformative America.
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MOON by Simaudio’s Dominique Poupart radiates passion and precision as he leads a tour through the company’s Quebec-based factory, where cutting-edge robotics meet meticulous hand-assembly—all in service of sonic excellence.
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Lyle Mays, the introspective sonic architect of the Pat Metheny Group, gets a fitting farewell in Eberhard—a sweeping, posthumous masterwork co-produced with his niece, Aubrey Johnson, whose voice helps carry Mays’s final vision home.
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Gilles recounts 50 years of audiophile growth, from teenage gear rivalries to embracing once-dismissed tweaks, reminding readers that real learning in hi-fi comes not from specs or forums—but from listening with open ears.
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For Wayne E. Goins, Booker T. & the M.G.’s “Green Onions” wasn’t just a hit—it was a hypnotic childhood soundtrack. But the real treasure? Side B’s smoldering sleeper, “Behave Yourself,” where Booker T. shines unfiltered.
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In a playful dialogue with his younger self, Jonson Lee explores how sound quality deepens music’s magic—while cautioning against losing joy in the endless quest for upgrades. The message? Savor the music, now.
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For under $1,500, the Zu Audio Omen and Magneplanar LRS offer two thrilling yet wildly different sonic paths—one bold and dynamic, the other refined and immersive—both delivering serious high-end sound without a high-end price.
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One of the leading music business stories of the 21st century is the continued discovery, sonic restoration, and release of previously unknown recordings—either from the studio or the stage. As the constant advance in digital technology has reclaimed live tapes once thought to be sonically inferior, and refreshed forgotten or leftover studio recordings, record labels,…
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Though a digital listener, Jonson Lee argues vinyl’s tactile rituals, emotional resonance, and enforced focus offer a deeper musical intimacy—likening analog to a meaningful kiss, and streaming to a noisy crowd ruining the moment.
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Tracing disco’s roots back to slave songs, chain gangs, and swing countercultures, the article shows how rhythm evolved into a movement — one made possible not by concerts, but by records and multitrack recording.
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Dragged along to T.H.E. Show by chance, Jonson Lee’s wife — a professional pianist — helped crown Heavenly Soundworks’ active speakers as the event’s best, praising their astonishing clarity and bass, all powered by just a $500 streamer.
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Faced with underwhelming SACD and BD playback, Tom Gibbs ditches discs for a digital setup that rips and streams native DSD—revealing astonishing sound quality and a future where optical drives are obsolete.
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As Apple, Amazon, and Spotify shift to lossless audio, smaller services like Tidal and Qobuz may face extinction. Mario St-Laurent warns this seismic change risks squeezing out artist royalties and playback freedom in favor of big-tech ecosystems.
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A recent article by PMA Magazine editor Robert Schryer got me wondering about when I began to think of music and audio — and, specifically, of myself as an audio hobbyist. The answer to “when” can’t be clearly defined by a single moment; it’s scattered across a handful of events that took place over a…
