"The long tradition of professional connoisseurship has resulted in the development of a bewildering universe of specialist terminology. In certain cases, it must be admitted, there was self-indulgent proliferation of words relating to some minute feature....In fact, no clear distinction can be made between one term and its closest neighbor in meaning."—from the Introduction to Kanzan Sato's The Japanese Sword, A Comprehensive Guide, translated and with an introduction by Joe Earle (New York: Kodansha America, Inc., 1983)
If you've got a thousand dollars to spend, I think asking for advice in choosing between the Coriolis Effect Deluxe Rev.3.2 power cord and the Shamelessly Hosing Neither Balanced Nor Unbalanced Tofu-Filled Mystical interconnect (footnote 1) is usually asking the wrong question.
Henry David Thoreau once wrote that "The eye is the first circle; the horizon it forms is the second." A profound observation, indeed: The horizon exists only in being perceived. Kind of like music, in fact.
From the days of Les Paul's chum Mary Ford, through Amanda McBroom and Jennifer Warnes, right up to Patricia Barber, audiophiles have been fascinated, and sometimes obsessed, with female vocals. I nominate to membership in that select sorority another Patricia, in this case O'Callaghan, whose third CD has just been released worldwide by her new label, Teldec.
It's once again time for holiday-gift recommendations. These 12 go roughly in order of ascending price, from the very affordable to the rather unaffordable. To be included, a gift had to strike me as being exceptional in quality while also representing excellent value for money. But by "excellent value for money" I don't necessarily mean low-cost; I mean a high return on investment.
Reading the November 2012 Stereophile, my eye was caught by John Atkinson's very enthusiastic review (he bought the review sample) of Ayre Acoustics' new QA-9 analog-to-digital converter. Over and above the intrinsic interest of the QA-9's claimed flat response down to about 1Hz, and that it is a cutting-edge ADC from a maker of consumer rather than professional audio gear, I had just been engaged by early-music scholar and organist Beverly Jerold to produce and engineer a recording of historically informed performances of Baroque organ music by Buxtehude (b. 1637), Clérambault (b. 1676), J.S. Bach (b. 1685), and Domenico Scarlatti (b. 1685). The recording venue was the Auditorium of the Third Meeting House of the First Baptist Church in America, in Providence, Rhode Island.