When you come to a fork in the road, take it.Yogi Berra
Over one busy week in 1986, Karlheinz Brandenburg laid the foundation of a technology that a few years later would upend the record business. Brandenburg, a PhD student in electrical engineering at the Friedrich-Alexander University Erlangen-Nuremberg, was figuring out how to code digital music efficiently enough that it could be delivered over digital telephone lines. A patent examiner had concluded that what the application proposed was impossible, so over a week of late nights, Brandenburg produced the proof of concept and more. It was another decade before the technologyMPEG-2 level III, more commonly known as MP3would find its true home, the Internet.
Loss is nothing else but change, and change is Nature's delight.Marcus Aurelius
Master Quality Authenticated (MQA), the audio codec from industry veterans Bob Stuart and Peter Craven, rests on two pillars: improved time-domain behavior, which is said to improve sound quality and what MQA Ltd. calls "audio origami," which yields reduced file size (for downloads) and data rate (for streaming). Last month I took a first peek at those time-domain issues, examining the impulse response of MQA's "upsampling renderer," the output side of this analog-to-analog system (footnote 1). This month I take a first look at the second pillar: MQA's approach to data-rate reduction. In particular, I'll consider critics' claims that MQA is a "lossy" codec.
I don't think I've ever seen an audio debate as nasty as the one over Master Quality Authenticated (MQA), the audio-encoding/decoding technology from industry veterans Bob Stuart, formerly of Meridian and now CEO of MQA Ltd., and Peter Craven. Stuart is the company's public face, and that face has been the target of many a mud pie thrown since the technology went public two years ago. Some of MQA's critics are courteousa few are even well-informedbut the nastiness on-line is unprecedented, in my experience.
The mice in the walls call summer to close while nets come down and leaves turn dead red, but by the time you see this there'll be holiday music in the air . . . and some generous soul might, just might, sneak a few looks through this issue of Stereophile to see what gifts to buy before the tree goes up and presents are openedand all will be nice!
And what better way to serve those possible givers of audio giftsand, at the same time, honor our hobby's most deserving designers and manufacturersthan with our annual Product of the Year awards?
It's day five of our planned month-long stay à Paris, late April through most of May. My wife is here for workfor me, it's strictly for pleasureand we're enjoying Paris's rich, sensual goodness: food, museums, architecture, coffee, people, food. And yet, earlier today, when we were out for a walkwe've been walking close to 10 miles each day, exploring the cityI realized that my life here has been missing something important.
The three most traumatic events anyone can experience in life? The death of a loved one? A surprise audit by the IRS? Your entire LP collection purloined by a disgruntled ex-lover?
And, oh yesmoving.
As 2016 turned to 2017, my wife and I were forced to move from an apartment we wrongly assumed we'd never ever have to leave, which in New York City means a lot. Perhaps we were just a tad naïve?
The New Analog: Listening and Reconnecting in a Digital World, by Damon Krukowski. The New Press, 2017. Hardcover, 240 pp., $24.95. Also available as an e-book.
Defining noise is tricky business.
In high-end audio, noise is often defined as the enemyof music, beauty, truth. Engineers and enthusiasts alike spend significant amounts of time, energy, and money attempting to minimize or control noise so that it has the least possible impact on the source signal: music. In this wayif we are intelligent, careful, and fortunatewe can extract from our stereos cleaner, clearer, more naturally beautiful sound for listening experiences that are enriching, emotionally compelling, and, above all, fun. On the other hand, when noise is allowed to excessively modulate the signal, music can sound relatively abrasive, more mechanical, and, ultimately, less engaging.
By the time we had finished the house tour and admired the quiet beauty of the fir-canopied neighborhood, we sensed that we would follow our hearts from unsafe and increasingly unaffordable East Oakland, CA to the serene hamlet of Port Townsend, WA. We also knew that the only suitable place for my reference/review system would be in the 22' x 22' detached garage
Some 100 engineers and scientists from around the globe assembled for the Audio Engineering Society's 2016 International Conference on Headphone Technology, in Aalborg, Denmark.
I figured it was coming, but it wasn't until just after I'd returned from the Audio Engineering Society's 2016 International Conference on Headphone Technologyheld last August in Aalborg, Denmarkand was writing up my report and summary on the event for InnerFidelity.com (footnote 1) that I knew for sure: Headphones are about to change . . . a lot.
Last June, Jim Austin briefly discussed the operation of MQA in his review of the Meridian Explorer2 USB DAC, but you can find a more detailed explanation on Stereophile's website here and here. MQA involves two fundamental concepts, discussed in a paper presented to the Audio Engineering Society in October 2014. The first is responsible for a large reduction in the bandwidth required to store and stream high-resolution files, the second for a potential improvement in sound quality. . .
Author's Note: We are grateful to Stereophile for the opportunity to address some frequently repeated technical questions appearing in comments to articles. Recently this has included misunderstandings about noise calculation, dynamic range, resolution, definition, music spectra, channel capacity, lossless processing and temporal aspects of digital channels.
To simplify this document we have grouped the topics and set them as questions and answers either as response, tutorial or axiom. Some months ago we published a comprehensive Q&A for an online forum and to avoid repetition we occasionally refer to topics already discussed there (see [37] in the "References" sidebar).J. Robert Stuart
In August 2015, I visited loudspeaker manufacturer Bowers & Wilkins in England. It was an exciting prospect to see the factory, and meet the people who designed and built the speakers I've been using for years. Of course, as the time of my visit approached, it was impossible not to speculate that something important was afootthere was growing Internet buzz that it was time for B&W to update its 800-series speakers. Nonetheless, B&W remained tight-lipped.
Jim Austin briefly discusses MQA in his review of the Explorer2 in this issue, but a more complete description of MQA can be found in an article posted on Stereophile's website at the end of 2014.
MQA involves two fundamental concepts, discussed in a paper presented to the Audio Engineering Society in October 2014, the first responsible for a potential improvement in sound quality, the second responsible for a large reduction in the bandwidth required for storage and streaming of high-resolution files...
Lonely Avenue: The Unlikely Life & Times of Doc Pomus
by Alex Halberstadt. Da Capo Press, 2007. Paperback, 272 pp., $16. Available as eBook.
Many people, after seeing him repeatedly at Manhattan's Forrest Hotel in the early 1960s, might have described the lyricist and songwriter Doc Pomus as the narrator of a Damon Runyon short story depicts himself: as someone "who is just around." Pomus lived for years in lackluster hotels like the Forrest, which Runyon himself had once called home, and his cronies could be just as colorful as Runyon's creations, including the gamblersfor a time, Pomus gambled for a living.
In Lost Highway, published soon after he was introduced to Sam Phillips, in 1979, Peter Guralnick said he had long dreamed of meeting the Sun Records founder, who produced the hits that introduced Elvis Presley and other pioneering rock'n'roll performers. He dedicated Lost Highway to Phillips and the blues singer Howlin' Wolf, calling them "the real heroes" of the musical genre, and a quarter-century relationship between Guralnick and Phillips followed. This long, densely detailed biography is its affectionate culmination.