It's now 10 years since the launch of the two high-resolution audio disc formats, SACD and DVD-Audio. Yet, perhaps partly because both were hobbled in various ways to please the record industry, perhaps partly because too many supposed hi-rez releases sounded no better than CD, and perhaps partly because record retailers weren't sure how to display the formats to their best advantage, neither took off in any substantive way. DVD-A disappeared, and SACD survived only as a niche format for high-quality classical releases in both two- and multichannel forms. As we got deeper into the same decade, digital technology, despite various sparks and flashes, went into the doldrums. Mainstream digital technology was increasingly concerned with squashing the music into fewer and more portable bits, not with increased sound quality. Even the concept of "CD sound quality" began to seem an unattainable goal, as MP3 files became the dominant music carrier.
My favorite moment in the Zack Snyder film Watchmenapart from the Dylan-fueled title sequence, which itself contains some of the most memorable scenes in recent cinemacomes when retired crimefighter Daniel "Nite Owl II" Dreiberg arrives home to find the doctrinaire and mildly crazy Walter "Rorschach" Kovacs in his kitchen, eating beans straight from the can. The startled Dreiberg asks his visitor, "Would you like me to heat those up for you?"
Every now and then an affordable product comes along that's so good, even wealthy shoppers want it. Past examples in domestic audio include the Rega RB300 tonearm, the original Quicksilver Mono amplifier, the Grace F9E phono cartridgeeven Sony's unwitting CD player, the original PlayStation. Based on word of mouth alone, one might add the HRT Music Streamer+ to that lauded list.
As an equipment reviewer, I find it helpful to talk to audiophiles and music lovers about their systems and upgrade plans. Fortunately, Stereophile's computer supplier and troubleshooter, Michael Mandel, also happens to be an avid audiophile. I say "fortunately" because I rarely get a chance to talk to people who put down their hard-earned money for hi-fi components. Instead, I usually converse with equipment designers, technicians, and marketing types, hardly people who reflect the buying public. It is thus a valuable education to get feedback from real-world consumers to find out what kind of products they want, their priorities, and how much they're willing to spend for certain levels of performance. They have a view distinctly different from that of the often jaded reviewer who is used to enjoying the best (albeit temporarily) without agonizing over its cost.
During an Audio Engineering Society meeting where a former colleague of mine was giving an arcane technical discussion of the optical considerations of data retrieval from a Compact Disc, a longtime AES member whispered to me: "What happened to the good old days of AES meetings when we talked about things like tape bias and saturation?"
These days, it seems you can't shake a stick without hitting a USB DAC, but Ayre's QB-9 ($2500) is something a little different. Ayre's marketing manager, Steve Silberman, was adamant: "The QB-9 isn't a computer peripheral. It makes computers real high-end music sources."
Is anyone in this economy shopping for a four-box, rack-swallowing, two-channel SACD/CD player contending for the state of the art and costing $79,996? dCS is betting that its Scarlatti will attract a small crowd of those wealthy music enthusiasts who, in any economy, reliably pony up for the best. For the rest of us, the Scarlatti will be a spectator sport.
"Two years ago I discovered my latest guilty pleasure: Internet radio. As long as it's 192k or higher. My whole buying/download cycle had been reduced. The pleasure and savings have increased. If they succeed in killing Net radio, I'm done with the hobby."Reader Peter DeBoer, in response to a recent Stereophile online poll.
I find it more than a little ironic that in 1990 the only two digital-to-analog converters to employ a new state-of-the-art DAC also use vacuum tubes. Many in the audio community consider tubes an anachronism, and find it surprising and humorous that they are still used in newly designed audio products. The fact remains, however, that these two tubed digital processors achieve the best digital playback currently availableand by a wide margin. Moreover, their respective designers' technical savvy and passion for building leading-edge products is reflected in their choice of these superlative and very expensive new DACs. Is it mere coincidence that both designers also chose vacuum tubes to realize their vision of no-compromise digital playback?
Rather a mouthful, the name of this digital decoder is derived from that of the designer, Robert Wadia Moses. The "computer" part of the title relates to the custom digital filter function generated by a set of 32-bit microprocessors: for simplicity's sake, I shall abbreviate the name to "WD1000." A more expensive version, called the '2000, sells for $6995, and carries some additional features and details. The resampling rate is increased to 64x in the '2000, with the additional optical and digital input switching and the main power supplies each contained in separate additional enclosures.
While my enthusiasm for the long-discontinued Sony PlayStation 1 remains high (see the July 2008 Stereophile), I freely acknowledge that not every high-end audio enthusiast wants a CD player with an injection-molded chassis, a Robot Commando handset, and a remarkable lack of long-term reliability: Yes, the Sony sounds wonderful, but sound isn't everything.
In 1989, Cambridge Audio, then run by Stan Curtiswho is still active in hi-fi introduced their DAC 1. At about the same time, within a few weeks of each other, Arcam introduced their Delta Black Box and Musical Fidelity their Digilog. I forget who was first among the three. Arcam, I think. But the DAC race was on, led by the British. (There was even a DAC called the Dacula.) US companies got into the DAC race, tooat higher prices, of course.
The speed with which audiophiles have adopted a computer of some sort as their primary source of recorded music might be thought breathtaking. But with the ubiquitous Apple iPod painlessly persuading people to get used to the idea of storing their music libraries on computer hard drives, the next logical step was to access those libraries in listening rooms as well as on the move. A few months back, I wrote a basic guide to the various strategies for getting the best sound from a computer: "Music Served: Extracting Music from your PC." Since then, Minnesota manufacturer Bel Canto Design has released a product that aims to simplify matters even further.