Our meeting was propitious and totally unexpected. The locus was Los Angeles' Sheraton Gateway Hotel last May, on which we had all descended for Home Entertainment 2006. As a contributor to Stereophile's Show blog, my assignment was as liberal as they come: Go where you are drawn, listen as you will, and record your impressions.
McIntosh: "...for the love of music..." by Ken Kessler. McIntosh Laboratory, Inc., 2006. $150.00. Hardcover, 12" by 12" by 1.25", 315 pp. ISBN 0-9787236-0-0. Available from McIntosh dealers and McIntosh Laboratory, Inc., 2 Chambers Street, Binghamton, NY 13903. Tel: (800) 538-6576.
When the brief flowering of quadraphonics began in the early 1970s, I was still at school. As a nascent but impecunious audiophile, I therefore had a ringside seat at the audio industry's first attempt to go multichannel—and, even for the disinterested onlooker, it wasn't a pretty spectacle.
This Is The Perfect Time—the time of year we love most. Madison Avenue's confounding street signs are suddenly dressed in green and red wreaths, the city's weary scaffolding blinks happily with golden light, the ordinary clamor of traffic and jackhammers is magically transformed into jingle bells and drummer boys. There is music everywhere and nothing to get in our way: A look down the avenue in either direction throws open a window to all that is past and all that is to come.
Sound Bites: 50 Years of Hi-Fi News By Ken Kessler and Steve Harris. London, IPC Media, 2005; paperback, 224 pages, 8.25" by 5.75", indexed. $29.95. Available in the US from Music Direct, www.musicdirect.com, (800) 449-8333.
The audio diaspora is split on the subject of bass. Some audiophiles—surely the majority—consider the reproduction of low frequencies purely in terms of the weight and drama it adds to sounds with significant bass content. Others—the generalists—take a much wider view of the significance of extended bass response, noting that an audio system's ubiquitous high-pass filters are unusual in Nature and suggesting that this is one of the factors that separate, at the fundamental level, live sound from its poorer reproduced cousin. When John Atkinson wrote on this subject more than 10 years ago (Stereophile, November 1995, "As We See It"), he quoted a memorable line by Kal Rubinson that encapsulates this latter view: "Something in Nature abhors a capacitor."
Loudspeaker Cables & Interconnects Editor's Note: Rather than place cables in the usual "Recommended Components" classes, we've just listed those cables that members of the magazine's review team either have chosen to use on a long-term basis or have found to offer good value for money. They are therefore implicitly recommended. Where a cable has been found to have specific matching requirements or an identifiable sonic signature, it is noted in the text. "Try before you buy" is mandatory with cables; many dealers have a loaner stock to make this easier.
It is a truism that audiophiles love music. What distinguishes us (footnote 1) from the vast majority of music lovers is the importance we ascribe to the high-quality reproduction of recorded music. But what, exactly, constitutes high-quality sound reproduction? To many audiophiles, the answer relates to accuracy. Useful indices of accuracy include many of the parameters that editor John Atkinson routinely measures: flat frequency response, time and phase accuracy, and low distortion, to name a few. On the other hand, many audiophiles apparently have little interest in these aspects and instead seek nothing more—or less—than a romantic and pleasant sound. Such individuals are unfazed by demonstrable inaccuracies in their systems; as long as it sounds good to their ears, they are happy. Are these two schools of thought both compatible with the notion of high-end audio? If so, is one "more correct" than the other? Are they mutually exclusive? What brought this issue to mind was, of all things, a digital transport. Actually, two transports.
Much as I like the prospect of being able to grunt a heartfelt Je ne regrette rien immediately before expiring, I know there will be too many what-ifs and wish-I-hadn'ts to make that even remotely possible. But here is one missed opportunity that won't flash before me, because John Atkinson has granted me a second chance.
What're they all about, these so-called Products of the Year? Why do we put so much time and energy into the voting? Why compile a list of all the products we've reported on in Stereophile over the last 12 months, putting little checkmarks and stars and numbers and other irreverent doodles and dashes beside their already silly names? Certainly all this hullabaloo isn't for our health. It's not even fun. It doesn't promote that strange, weird, and wonderful tingling feeling way down in the toes. It doesn't taste good. And chicks don't really dig it. So: Why?
If there is one thing I've learned in almost 28 years (ouch) of audio writing, it's that audience reaction is fickle. Sometimes readers will swallow the most contentious pronouncements without indigestion, only to choke on throwaway lines you've invested with little importance. It just goes to confirm that human communication involves senders and receivers, and they aren't always in synchrony.