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In the age of streaming and digital audio files, one might think that listening to music has never been simpler. In practice, however, especially for more demanding users, it remains a surprisingly complicated business, particularly when we want to combine the convenience of using a smartphone with the capabilities of more advanced audio equipment. When it comes to managing music playback, we usually have two options. The first is to use the app provided by the streaming service itself - quick and intuitive, but offering only basic functionality. Better control over sound or more advanced options are out of the question, and on top of that our player must be compatible with a given app and hold the right certification for it to appear on the list of available output devices at all. The second option is to turn to external software such as Audirvana, Roon or apps supplied by hardware manufacturers such as BluOS, Lumin or Auralic. This is where the trouble begins as well. Either something important is missing, or the app turns out to be clumsy and unstable, or it is excellent, refined and versatile, but expensive. What is missing is a single standard and a common…

In 1997, Radiohead released their album OK Computer. It was a record that not only startled the band's loyal followers but also anyone who happened to hear it. It explored themes of technology, alienation, and social unrest in a rapidly shifting world, and it's often read as a darkly prophetic commentary on the dehumanizing influence of the digital age - a message that, almost thirty years later, still feels unnervingly precise. The lyrics, often delivered in a weary, detached voice, paint a grim, inevitable future where people lose themselves in virtual realities. They trace the moment when tools meant to serve us quietly begin to own us, turning convenience into dependence. The album became legendary for its unorthodox production and haunting, atmospheric sound, both of which heightened its sense of unease and disorientation.

In a twist that has tails wagging and audiophiles howling, the canine world has unleashed its unparalleled auditory prowess upon the high-end audio scene. In a market saturated with human opinions, dogs have emerged as the ultimate connoisseurs of sound, fetching accolades for their unparalleled ear for detail.

Vinyl LP pressing plants are churning out records at such a clip they're routinely backed up for six months or more. The once discredited LP has now become one of the few revenue centers for the record business outside of streaming. And now the thunderclap! The format predicted by a tenacious few since the invention of the MP3 - the lowly CD - has for the moment arrested its decline and is again posting sales gains. Defenders of the CD rejoice! Vindication is here! Or is it? Is the long slide really over?

In jazz, as in most other forms of popular music, it's women who are bringing the new and much needed energies to the cause of keeping the music relevant and important. Three recent releases, all of which vaguely fit under the moniker of jazz, are striking examples of the artistry and ideas that women are bringing to music today. In 1979, singer songwriter Joni Mitchell famously collaborated with jazz-bass visionary Charles Mingus just prior to his death on a record she called simply: Mingus. Filled with compositions written by Mingus for Mitchell, it remains a highlight of the more experimental phase of her long career. Mitchell herself has long been a frequent source of material for female jazz singers, including Diana Krall, Jane Monheit, Dianne Reeves, Cassandra Wilson, and Holly Cole. The genesis of Both Sides of Joni began in rehearsals in the late Janiece Jaffe's barn in southern Indiana between the singer and her longtime friend, Monika Herzig, both faculty members at Indiana University's world renown music school. After sufficient time to work on the new arrangements by Herzig, the pair played the material live in March 2021 before heading into Airtime Studios in Bloomington, Indiana, to cut these…

Dual is one of the brands highly regarded by audiophiles, vinyl enthusiasts in particular. And there's a good reason for that. The German manufacturer has produced so many outstanding turntables that it's hard to count them all. A well-preserved or restored Dual can be connected to any stereo system, even an expensive one, and not only will it look great, but with an appropriate cartridge, it should also sound so good that new, mid-range turntables will hide under the sofa with shame. Until recently, if you wanted to buy a Dual product, you would have to be patient, search through popular auction services and find a professional who could bring old electronics to factory condition. Fortunately, today Dual's products are not only museum pieces, decorations in trendy cafes, or turntables for connoisseurs who can appreciate the quality of their craft and sound. After the reactivation of the company, you can now purchase them again in audio stores. How did it come about? Is it something more than a short, one-time spurt? And why did so many vinyl fans get goosebumps just hearing that Dual was back in business? To find out, we decided to look at the company's history and…

Choosing a loudspeaker is a task that requires matching many factors at the same time - size, construction type, finish, performance, and, of course, price. When we have solved this puzzle, all we need to do is to carefully remove the new equipment from the box, connect the cables, and arrange speakers in such a way as to get the best possible sound out of them. However, the latter turns out to be quite complicated. Finding the optimal positioning of loudspeakers in the listening room costs pretty much nothing and can surely give a lot of satisfaction. All it takes is a little experience, intuition, and commitment to turn this "problem" into an exciting adventure.

Never before have Iron Maiden fans had to wait so long for a new release from their favorite band. A lot has changed in the world during the six years that have passed since the release of "The Book Of Souls", so one could quietly hope for changes in the Englishmen's work as well. And since the release of the "Brave New World" over two decades ago, they give malcontents a lot of reasons to complain - mainly because the band still plays the same stuff. And even though I'm a fan of Iron Maiden's music, I have to admit there's some validity to that.

Ten years ago, listening to music from the computer was regarded in the audiophile circle as cheap entertainment designed for people not interested in the quality of sound and audio equipment. That way of thinking was popular for a reason. Firstly, the quality of the files. When the high-speed internet was not widespread, music was only available in highly compressed MP3 files. Data transmission speed wasn't the only problem. If someone decided to purchase one of the first portable MP3 players, they probably wouldn't have had more than 32 or 64 MB of space. Secondly, hardly anyone used something more serious than plastic speakers for $10. Using the computer as a signal source was regarded as a perversion. Thirdly, having the audio files meant that they were illegally downloaded from the network, which is obviously unethical.

Agnes Obel is a Danish artist currently living in Berlin. In 2010 she presented the first album called "Philharmonics". The title was a bit of a surprise because this music has absolutely nothing in common with a symphony orchestra. Agnes independently wrote the songs and played instrumental parts in them. She also sang, recorded, and produced all the material. Those were extremely intimate compositions with an absolutely minimal number of instruments.