Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
In his impassioned "As We See It" in May (Vol.20 No.5, p.3), Robert Harley pleaded that the Compact Disc is actually quite a bit better than it sounds, and requested that audiophiles focus instead on the significant improvements wrought in digital sound since its inception. Bob's point—that picking on CD's shortcomings has become a ritual bloodsport within the High End—is well taken: witness my own catty swipe at it in the first sentence. The fact is that the glaring imperfections of the first generation of digital products are now mostly distant memories. Most of us do derive hours of musical pleasure from our CD players and CD collections.
Larry Archibald on CD: This article on Compact Discs and CD players is by Doug Sax, president of Sheffield Records and a longtime opponent of digital recording. J. Gordon Holt offers a response elsewhere in this issue, in which he advises readers to buy a Compact Disc player as soon as they can afford it. Gordon in general hails the Compact Disc as the greatest thing to hit audio since the stereophonic LP.
If you are to believe all the promotions for the Compact Disc, simply buying a player will transport you instantly to sonic nirvana. No background noise! No distortion! Flat frequency response from 20 Hz to 20kHz, pIus or minus zilch! The most perfect sound that modern hightech can provide! But if CD sound is so perfect, what are so many people screaming bloody murder about? It seems that half the golden ears who hear it are smitten with hate at first hearing. The other half finds it the best thing since tax shelters.
As of February, 1982, the ownership of this publication passed to other hands. In total despair about its precarious finances, JGH accepted with alacrity an offer by Larry Archibald (an occasional contributor in recent years) to purchase the magazine. This has now come to pass, and it is because of the resulting infusion of money that you are holding this issue in your hot little hands now instead of three months from now (and that is probably being a little optimistic about the way things were).
There was a time, very recently in terms of human history, when high fidelity promised to free the music lover from the constraints of the concert hall and the local repertoire, allowing him to choose at his whim any orchestra in the world playing any work he desired under the baton of any conductor he preferred. "All the pleasure of concert-hall listening, in the comfort of your home," was the way one display advertisement painted this musical utopia which, only 20 years ago, seemed right around the corner.
"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.)
In his "From the Editor's Desk" in the March issue of Stereophile's e-newsletter, John Atkinson recounts how, years ago, "erstwhile audio scribe Enid Lumley" demonstrated her pizza-box-tripod tweak at a hi-fi show. Lumley, JA writes, "placed the tripod atop a CD player and convinced her audience—including me—that the sound was better."
I was recently reunited with an old friend from high school. My best friend from high school, in fact. Our families got together, everyone got along, and as the dust of conversation settled toward the rug of companionable silence, talk turned to work. And when the inevitable happened, and my old friend and his wifeclassical-music lovers bothasked how much a person had to spend these days in order to get a good music system, I answered their question with a questiona question that, crazily enough, just popped into my head...
There's a widespread myth that writers who get published are more talented than writers who don't get published, and that musicians who make records are more talented than musicians who don't make records. But anyone with any talent who has ever tried to earn a living as a writer, a musician, or any other kind of artist understands that the correlation between merit and success is, at best, loose. Some successful artists are talented, and some talented artists are successful. But for every talented artist who manages to make a living there are a dozen more, equally deserving, who have no choice but to keep their day jobs.
The audiophile in the plaid shirt and gray Dockers had his hand up. Moderator Jonathan Scull handed him the roving microphone, and the Stereophile writers on the podium at HI-FI '99's Sunday afternoon "Ask the Editors" session shifted in their chairs. "This one's for John Atkinson," came the windup. The other writers relaxed; I started to sweat. Then the pitch: "How come Stereophile issues are so small these days?"
It's called the "Cocktail Party Effect." You may be immersed in the middle of a crowd of audiophiles all talking at once, but when someone says something that catches your attention, such as your name, you can focus on the sound of that person's voice and exclude the babble. The noise suppression can be 9–15dB; ie, the sound being concentrated on seems to be three to four times louder than the ambient noise, according to Wikipedia. The exact mechanism of the Cocktail Party Effect is not known, but it is conjectured that it has something to do with the binaural nature of human hearing: the fact that we have two ears allows us to apply spatial discrimination to what would otherwise be a jumble of sound.
There's an old Russian folktale about a farmer who goes to a fair. He buys a bread roll from a vendor. He eats it, but he's still hungry. So he buys and eats another roll, and then another. Still hungry. Next, he buys a donut from a different vendor. At last, he's no longer hungry. The farmer then says to himself, "I wasted the money I spent on the rollsI should have just bought the donut first!"
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."
Ever since Stereophile took up the cudgels for subjectivity, and had the temerity to insist that even the best products have certain colorations, we have stressed compatibility in choosing components. By compatibility we do not mean merely matching impedances and signal levels, but mating components whose sonic peculiarities tended to offset one another.