Read story →Black Sabbath’s “Paranoid” at KD Sound
A two-and-a-half-minute rush of riff, voice and momentum meets an all-Grandioso vinyl chain and Göbel Divin Comtesse loudspeakers.
The journal
Take your time with the music.
Follow a voice through the room, a guitar through a phrase, or a designer through a difficult question. Each article keeps the music in view and the evidence close at hand.
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Recently published
17 articles
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Read story →Shawn Colvin’s “Killing the Blues” at GLV
A song of departure stays deliberately unhurried as Shawn Colvin’s voice and guitar move through YG, MSB and Aurender at GLV.
Read story →Beethoven’s fugal finale at Saem Energy
Beethoven sends a fugue racing through the Guarneri Quartet, heard through MBL, Electrocompaniet and Piega at Saem Energy.
Read story →Michael Jackson through three Aurender configurations
“Don’t Stop ’Til You Get Enough” moves from repeated comparison windows into a full-song sequence with one NH10, two NH10s and the MC10 clock.
Read story →Diana Krall’s “No Moon at All” at SELekt
Voice, piano and double bass turn a standard into an intimate exchange, heard through MSB, Halcro and Kharma at SELekt.
Read story →“While My Guitar Gently Weeps” at KD Sound
George Harrison’s song becomes a conversation between voice and guest guitar, replayed through CH Precision and Göbel Divin Majestic in Seoul.
Read story →“Hallelujah”: four voices, one room
Four distinct voices share Leonard Cohen’s song through Tidal Akira, Vinnie Rossi Brama and Master Fidelity at Chess Audio in Seoul.
Read story →Two guitars in motion
Al Di Meola and Paco de Lucía turn two joined compositions into one live exchange, heard through Sonus faber Stradivari G2 and McIntosh at ROYCO in Seoul.
Read story →Can an amplifier drive a one-ohm load?
Peter Foster explains how Halcro approaches difficult loudspeakers, RF-heavy systems and power-factor-corrected supplies.
Read story →Shim Kyu-seon’s “시내” across three Aurender configurations
The same musical passages return across one switch, two switches and an external clock, inviting listeners to settle in and compare each return for themselves.
Read story →“OK Tokyo”: percussion, pulse and two guitars
A rapid acoustic duet recorded at SELekt, where picked lines, body percussion and shared pulse travel through MSB, Halcro and Kharma.
Read story →“Where There Is Smoke”: voice, texture and space
Dominique Fils-Aimé layers voice, bass and studio texture through a Kharma, darTZeel and MSB system at SELekt.
Read story →Beethoven’s Triple Concerto Largo
Anda, Schneiderhan and Fournier meet in Beethoven’s compact slow movement, played through Kalista, Ypsilon and Peak Consult.
Read story →How Halcro approaches the noise floor
Peter Foster links independent power supplies, shielding and a future phono stage to an unlikely lesson from cardiac monitoring.
Read story →Aurender NH10 / MC10 with “Stand By Me”
Dominique Fils-Aimé’s voice returns through three clearly labelled Aurender configurations, with the same passages available for a calm, repeatable comparison.
Read story →BYU’s “O Come, All Ye Faithful” at SELekt
Dan Forrest’s arrangement sets sustained choral lines against an articulated orchestral drive, heard through MSB, Halcro and Kharma.
Read story →Why music is Halcro’s final test
Peter Foster describes Halcro’s democratic design process, its preference for long-form listening and the engineering ideas carried into Equinox.