Audiophiles constantly seek ways to improve the experience of hearing reproduced music. Preamps are upgraded, digital processors are compared, turntables are tweaked, loudspeaker cables are auditioned, dealers are visited, and, yes, magazines are readall in the quest to get just a little closer to the music.
For roughly the same amount of money, you can buy a new Toyota Camry or a used mid-sized Mercedes-Benz sedan. The new car has several things going in its favor: no one else has ever driven it, smoked in it, or ferried dogs and kids and fast-food leavings in it, and it comes with a fresh warranty and the latest safety equipment. But the used Mercedes has other things in its favor: having started with a much larger "build budget," it is, simply, more car for the money all aroundyou just have to pick a good one.
"Tax proposed to fund Public TV, radio," read the newspaper headline. The Working Group for Public Broadcasting, described as a "private study group," was proposing to free public broadcasting "from improper political and commercial influences" by replacing its $228 million in congressional appropriations and $70 million or so in corporate funding with $600 million to be raised from a new sales tax on electronic equipment. The article went on to say that the proposal was being sent to the congressional panels concerned with communications (ie, the commerce committees), where it could become the basis for a new Public Broadcasting Act.
A couple months back, a question from a dealer set me back in my chair: "Are you guys really going to put out Stereophile on a monthly basis?" I was surprisedwhen he put the question, we were just starting production work on the issue you hold in your hands, the twelfth to hit the stands since we started publishing monthly. Beginning with Vol.10 No.5 in August 1987, a Stereophile has gone in the mail every month, pretty much on time despite having gone through the trauma of changing printers last December on one issue's notice.
Beginning with this issue, Stereophile readers will notice that more of the subjective equipment reviews are augmented with technical reports describing certain aspects of the component's measured performance. Although test data have lately been increasingly included in reviews, Stereophile has recently made a major commitment to providing readers with relevant measurements of products under review. We have just finished building an audio test laboratory featuring the Audio Precision System One, a sophisticated, computer-based audio test measurement system.
When I taught a recording engineering program at a California college, one of my first responsibilities to new students was to clarify for them what recording engineering was really about. Many of them entered the program with the impression that recording was nonstop glamor, with a significant part of the job devoted to partying with their favorite rock bands. It was my job to tell them the bad news: Recording was more about lying on your back underneath a recording console on a dirty studio floor with hot solder dripping on your face.
I was having breakfast in my hotel room on December 13, 2008, finally getting down to preparing the presentation I was to give at the Los Angeles and Orange County Audio Society scant hours later (footnote 1). I procrastinated a little more by checking my e-mail one more time. The message from Ivor Humphreys, once my deputy editor at the UK's Hi-Fi News & Record Review magazine (now just plain Hi-Fi News), and for many years technical editor at Gramophone magazine, was typically terse: "John Crabbe has died. He had a fall on the wintry ice a few days ago and broke an arm. He died at home yesterday. He was 79."
1950: "The ultimate in disc recording is to make the reproduced sound as near as possible to the original..." (The founder of Audio magazine, C.G. McProud, in "Recording Characteristics," Audio Engineering, January 1950, reprinted in The 2nd Audio Anthology, p.67, Radio Magazines, 1954.)
A hot topic for discussion in recent issues of Stereophile has been the impact Home Theater has had on the High End. Some of the magazine's contributorsJ. Gordon Holt and Corey Greenberg, for examplehave written that the advent of Home Theater means that we should expand the audio context of the magazine to include reviews of video components (footnote 1). Others, including Bob Harley, Tom Norton, and myself, feel that we should stick to what we know and loveaudioand enter the new field only to advise Stereophile's readers on how to achieve the best sound from a Home Theater system. However, missing from the debate in our pages so far have been any comments from those in the business of selling and demonstrating high-end products and, increasingly, Home Theater systems. Accordingly, this month I am running a guest editorial from a man who perhaps typifies the high-end, specialist retailer: Ken Gould of Audio Nexus (footnote 2). Please note that Mr. Gould's opinions are his own and do not represent those of the magazine.John Atkinson
A psychological theory (footnote 1) that I've always been fond of is the one that proposes the perceptual/personality dimension of Sharpening vs Leveling. As defined by the early Gestalt psychologists, Sharpening is an exaggeration of differences, Leveling a minimization of differences. In visual-perception research on this topic, when test subjects were presented with an asymmetrical figure, some later recalled it in ways that exaggerated the figure's asymmetry (Sharpeners), while others minimized or eliminated it (Levelers).
Procrustean bed: a scheme or pattern into which something or someone is arbitrarily forced. Procrustes: a villainous son of Poseidon in Greek myth who forces travelers to fit into his bed by stretching their bodies or cutting off their legs.Webster's Ninth New Collegiate Dictionary
Much has been made of the influence that Linn, Naim, and Rega have had on our ideas about music-system hierarchies: Before they and a handful of other British audio manufacturers kicked off the debate in the 1970s, the conventional wisdom worldwide was that the loudspeaker was more important than the record player, amplifier, or any other link in the domestic audio chain, and thus deserved to be the object of significantly greater care and attention, not to mention investment of cash. But the Brit-fi approach was different, and ostensibly better reasoned: Because musical information that's distorted or dropped entirely by a record player, a CD player, or any other source can't be made right by any other component in the system, it is the source that must be considered the most important component of all, and to which the majority of funds should be allocated.