This series of articles was initially written (in slightly different form), as a paper presented at the 103rd Audio Engineering Society Convention, New York, September 1997. The preprint, "Loudspeakers: What Measurements Can Tell Us—And What They Can't Tell Us!," AES Preprint 4608, is available from the AES, 60 East 42nd Street, Room 2520, New York, NY 10165-0075. The AES internet site, www.aes.org, offers a secure transaction page for credit-card orders.
With the reality of digital television now almost within our grasp, manufacturers of big-screen sets must feel like sky-divers in free fall. Until the 'chute opens with the snap of digital displays finally hitting the stores, the market for large, expensive, conventional rear-projection models might appear to be controlled by nothing but the force of gravity. In a highly unscientific survey, I asked a few dealers around the country whether big-screen television sales were down and whether consumers seemed to be waiting for the coming of the first digital sets. The answer to both questions was a uniform and unequivocal yes.
This series of articles was initially written (in slightly different form), as a paper presented at the 103rd Audio Engineering Society Convention, New York, September 1997. The preprint, "Loudspeakers: What Measurements Can Tell Us—And What They Can't Tell Us!," AES Preprint 4608, is available from the AES, 60 East 42nd Street, Room 2520, New York, NY 10165-0075. The AES internet site, offers a secure transaction page for credit-card orders.
Back in the Spring of 1990, Stereophile introduced its first Test CD. Featuring a mixture of test signals and musical tracks recorded by the magazine's editors and writers, it sold in large numbers—around 50,000 had been produced at last count. Even as we were working on that first disc, however, we had plans to produce a second disc that would expand on the usefulness of the first and feature a more varied selection of music. The result is our Test CD 2, introduced this month for just $7.95 plus postage and handling. With a playing time of over 74 minutes, the new disc should prove an invaluable tool to help audiophiles optimally set up their systems and rooms by ear—and the music's pretty good, too!—John Atkinson
Every summer, I invite a representative sample of Stereophile's equipment reviewers to the magazine's Santa Fe HQ. For the third successive year, I decided to tape some of the free-for-all discussion that takes place and offer readers the opportunity of peeking over the participants' shoulders by publishing a tidied-up version of the transcript.
Twice a year, Stereophile brings some of its writers out to Santa Fe, New Mexico, to discuss the compilation of the magazine's "Recommended Components" listing, the most recent of which appeared in the October issue. Following a comment from Will Hammond, John Atkinson's collaborator on the recent amplifier blind listening tests, that the magazine's readers would love to eavesdrop on the conversations that take place on these occasions, it seemed a good idea to tape (footnote 1) some of the discussions and publish the transcript as this month's "As We See It" (footnote 2). Accordingly, Lewis Lipnick, Gary A. Galo, Robert Harley, Thomas J. Norton, Guy Lemcoe, Richard Lehnert, Dick Olsher, Peter Mitchell, Robert Deutsch, J. Gordon Holt, Larry Greenhill, John Atkinson, and Arnis Balgalvis all gathered in LA's palatial listening room one August Saturday. JA set the ball rolling by asking the assembled writers where they thought Stereophile had been, where it was, and where they thought it should be going, particularly in view of Robert Harley joining the magazine as Technical Editor.
John Atkinson sets the stage Nothing seems to polarize people as much as the vexed question concerning the importance of audible differences between amplifiers. If you think there are subjective differences, you're an audiophile; if you don't, you're not. And as any glance at an appropriate issue of Consumer Reports—the publication for non-audiophiles—will confirm, the established wisdom is that once the price of an amplifier or receiver crosses a certain threshold, any further improvement in sound quality becomes irrelevant, in that it puts the price up for no apparent gain. In other words, when it comes to amplification, there is such a thing as being "too" good. Yet, as a reader of this magazine, I would expect that not only have you been exposed to real subjective quality differences between amplifiers that Consumer Reports would regard as sounding identical, you have made purchasing decisions made on the basis of hearing such differences.
There has been much argument in audiophile circles about whether an LP or a CD is a more faithful representation of a master tape. Although we recorded Robert Silverman's thrilling performance of the Liszt B-Minor Piano Sonata for CD release, we also had in mind to issue an LP. As the source for both would be the same, the question we can answer is: Will an LP cut straight from a 20-bit master tape via a Class A 20-bit DAC sound closer than a CD noise-shaped to 16 bits from the same 20-bit original?
One Saturday afternoon in August 1990, a number of Stereophile's writers—John Atkinson, Arnis Balgalvis, Robert Deutsch, Larry Greenhill, Robert Harley, J. Gordon Holt, Richard Lehnert, Guy Lemcoe, Lewis Lipnick, Peter Mitchell, Tom Norton, Dick Olsher, Don Scott, and Bill Sommerwerck—gathered together in the magazine's Santa Fe, NM listening room to discuss the "Recommended Components" listing that was due to appear in the October 1990 issue. To add a little Tabasco to the proceedings, JA had invited AudioQuest's main man Bill Low to give a short talk on whatever subject was uppermost in his mind that weekend, to be followed by an open discussion.
A musical highlight for us at Stereophile in 1995 was the opportunity to record several concerts at the world-famous Santa Fe Chamber Music Festival. The result was a Stereophile CD, Festival (STPH007-2), which features the original chamber version of Aaron Copland's Appalachian Spring, Darius Milhaud's jazz-inspired La création du monde, and the premiere recording of the 1995 Festival commission, Tomiko Kohjiba's The Transmigration of the Soul (see Stereophile, January 1996, Vol.19 No.1, p.132). We were pleased, therefore, to be asked back by the Festival in 1996. Once again we have produced a CD of live recordings, Serenade (STPH009-2), which features chamber works by Mozart, Brahms, and Dvorák.
Remember the old mathematical riddle about moving a football from a hundred yards out to the goal line? Known as Xeno's Paradox, it goes like this: if each time the ball is moved it travels half the distance to the goal, how many moves will it take to get there? The answer: an infinite number, because no matter how many times you cut the distance to the goal by half, you'll always be some infinitesimal distance away from it.
The Vandersteen 3A is a higher-end variation on the theme established by the company's first loudspeaker, the 2C. The latter is still available, though much updated into the current, highly popular 2Ce. A four-way design, the 3A has separate sub-enclosures for each drive unit; the whole affair is covered with a knit grille-cloth "sock" with wood trim end pieces. A rear-mounted metal brace allows the user to vary the tiltback—an important consideration for best performance with this loudspeaker.