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.
Some of the most innovative thinking on hybrid circuit design these days seems to come from Russian designers. As a group, they are technically very well educated, pragmatic, and unfettered by American high-end didacticism.
"When I find something that works," John Candy leered, "I stick with it!" I have no idea if the folks at Stax Industries are fans of Splash or not, but they've certainly taken Candy's philosophy as their own. Despite manufacturing superb—if demanding—loudspeakers and electronics for the last 15 years or so, Stax has been best known for producing one thing: electrostatic ear-speakers, aka headphones.
Compuserve's CEAUDIO forum has been buzzing in recent weeks about audio cables. The subject even spilled over into an April meeting of the New York chapter of the Audio Engineering Society (see Wes Phillips's report in this month's "Industry Update"). Nearly two decades after Polk, Fulton, and Monster Cable raised our collective consciousness about the differences cable choice can make in an audio system, the debate still rages between audiophiles and some members of the engineering community. "High-priced tone controls" is how some engineers dismiss the subject of cables, while admitting that they can sound different. Other engineers adopt the "Hard Objectivist" line that if there are differences to be heard between cables, differences in the lumped electrical parameters of resistance (R), inductance (L), and capacitance (C) are all that are required to explain such differences.
A science-fiction parable I read too many years ago to remember who wrote it used the image of a glass jar stuffed with colored plastic spheres. The story's protagonist was asked whether the glass was full. "Of course," was his reply, whereupon a hidden faucet was turned, the jar filled up with water, and fish swam in the spaces between the balls.
During the late 1950s, when high fidelity exploded into a multimillion-dollar industry, product advertisements bragged about bringing the orchestra into your living room. Apparently, no one realized what an absurd concept it was, but there are still many people today who believe that's what audio is all about. It isn't. There is no way a real orchestra could fit into the average living room, and if it could, we would not want to be around when it played. Sound levels of 115dB are just too loud for most sane people, and that's what a full orchestral fortissimo can produce in a small room.