In recent months, Stereophile's "Letters" column has been filled with complaints about the equipment we choose to review. "Too rich for my pocketbook" is the universal sentiment. This puzzles me, considering that Stereophile does review many "affordable" components. In part, I think this reaction is due to the high profile invariably associated with very expensive gear. Although we did put both speakers on our cover, one review of a Wilson Grand SLAMM or a JMlab Grand Utopia seems to outweigh 10 reviews of more realistically priced products. Our writers love to cover the cutting edge of audio—witness Martin Colloms's report from HI-FI '96 in this issue—because progress is more easily made when a designer is freed from budget constraints. But without the Grand SLAMM or Utopia, would Wilson have been able to produce the $9000/pair WITT, or JMlab the $900/pair Micron Carat, to name two high-value, high-performance designs recently reviewed in the magazine?
As Stereophile's Equipment Reports Editor, I get a lot of calls from readers asking how we choose the gear we review, and from manufacturers asking how to get their products reviewed. So I told JA to take the month off from writing this column so that I could talk about Stereophile's Equipment Reports section.
"If the midrange isn't right, nothing else matters." StereophilefounderJ. Gordon Holt's decades-old observation of the musical importance of the midrange has become a truism cast in stone. Gordon's other famous observation, "The better the sound, the worse the measurements," was made only partially in jest.
"Why didn't they choose a color set?" I had been reminiscing about the early days of TV and how my parents bought a black-and-white set so we could watch the Coronation of Queen Elizabeth II in 1953. My daughter Emily's question had me stumped. It is difficult to explain to someone born 10 years after the launch of CD—someone who, for example, has never seen, let alone used, a typewriter, and who enjoys a comparatively infinite set of choices among mature 21st-century technologies—that it was not always thus.
Back on April 13, Stereophile assistant editor Stephen Mejias posted the following thought on his "Elements of Our Enthusiasm" blog: "Is it possible to listen to music and listen to the hi-fi? Or are they two entirely different activities, incomparable and incompatible? Right now, for me, they seem to have nothing in common, whatsoever."
Thirty-five years ago this month, the first issue of a new audio magazine—cover price 50 cents—cautiously made its way out of a Philadelphia suburb. Its black'n'white cover featured a chessboard adorned with tubes and XLR plugs. Its 20 advertising-free pages included a feature on how to write an ad for an audio product, which had been penned by one Lucius Wordburger, a footnote helpfully pointing out that this was the nom de plume for one J. Gordon Holt, "who wishes to remain anonymous."
A fellow member of the Bay Area Audiophile Society recently forwarded to me a link to Wikipedia's entry for audiophile. It's a horror. Even before the page defines the word, it begins with a large question mark, circled in green, and the warning, "This article or section may contain original research or unverified claims. Please help Wikipedia by adding references."
Stadium rock is my idea of the inner circle of Hell. I hate crowds. I have zero interest in the rich and famous. And I've never been much of a Rolling Stones fan. Give me a choice, and I'll take Weslia Whitfield at the Plush Room 10 times out of 10: a cushy seat, some witty companions, a little Irving Berlin and Cole Porter. Heavenly.
"What the heck is that icon trying to tell me?" I had switched on Denon's new DVD-3000 player—a cute "Welcome to DVD World" message scrolled across its display—and put a disc in its drawer. The icon, which looked at best like a Japanese character and at worst like a child's drawing of a house (complete with windows), was lit up in light blue on the display. But the game was given away by the magic words "96kHz 24 bit" illuminated in red below the mysterious icon. For this was no DVD movie, but a test pressing of Chesky's new Super Audio Disc, The Super Audio Collection & Professional Test Disc, which makes use of the DVD-Video specification's provision for including a two-channel, linear-PCM signal encoded with a 96kHz sampling rate and a word depth of up to 24 bits. (Contrary to what you may have read in the popular press, using DVD-Video to carry high-definition sound quality does not introduce a new and incompatible standard.)