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.
A persistent complaint from some of our readers concerns our seeming preoccupation with exotic components. (Presumably what they mean are scarce, unusual, or hard-to-find components, because "exotic" really means "from a foreign country," and there is sure as hell nothing hard-to-find about a Panasonic receiver.) "Why," you ask, "do you devote so much space to reports on components we can't buy from our local audio discounter? Why can't we have more reports about products from the old, established, reliable companies like KLH, Harman/Kardon, Electro-Voice and Sansui, whose stuff we can listen to at a local dealer before we commit our hard-earned dollars to a purchase?" One subscriber even cancelled his subscription because of this, claiming that the unavailability of the products we review makes our reports "irrelevant." Well, he had a point, but not a very good one.
First I should clear up what may be an ambiguity in the driver-lineup spec for these speakers. In each system, three 8" cone units serve as woofers. Two of these crossover from the midrange drivers at 100Hz. Crossover to the third 8-incher, the subwoofer, is at 40Hz. Thus, two woofers are active from 100Hz down to 40Hz, and all three are active below 40. In other words, the third woofer does not come into play until the frequency drops to the point where the radiating area of two 8-inchers starts to become inadequate for moving air, at which point the additional area of the third speaker is thrown in. Below 40Hz, all three are working together.
Warning to Purists: Despite certain qualities about the ESL-63 speakers which you will probably like, Quad equipment is not designed primarily for audiophiles, but for serious-music (call that "classical") listeners who play records more for musical enjoyment than for the sound. Quad's loudspeakers do not reproduce very deep bass and will not play at aurally traumatizing volume levels, and Quad's preamplifier is compromised through the addition of tone controls and filters, all for the purpose of making old, mediocre, and/or worn recordings sound as listenable as possible.
These speakers inadvertently managed to put me in a good mood even before I listened to them, because of a dumb little gaffe committed by Thiel's packing department. Each speaker came with an Owner's Information sheet, which is nice. Each sheet included Unpacking (and Repacking) Instructions, which is nicer. But each sheet came packed inside the carton, underneath the speaker, where it was not accessible until after the speaker was dumped out of the box, which is pretty silly!
Until recently, I have considered LaserVision video discs as a rather dubious medium for serious music reproduction. The only review I had read about it by a critical listener (Harry Pearson in The Absolute Sound) was I singularly unenthusiastic, and since I had not heard one myself, I was inclined to take his word for it.
Our long-awaited laser-audio disc player (usually called the CD, for "Compact Disc") finally arrived, along with a real bonanza of software: two discs—a Polygram classical sampler of material from Decca, Deutsche Grammophon and Philips, and a Japanese CBS recording of Bruckner's 4th Symphony, with Kubelik.
A world-renowned musician had scheduled an appearance as guest soloist with the string quartet in residence at a certain university. When he arrived he noticed a pair of microphones arrayed over the small stage and, following the wires, located a college student backstage next to a tape recorder and a pair of headphones.
The October 1982 issue of Stereo Review published what must be hailed (or derided) as the first reasoned assessment of high-end audio ever presented in a mass-circulation hi-fi publication. We disagreed with a few of the author's points, but our main gripe about the piece prompted a letter to Stereo Review. This is what we wrote:
Now that audio technology seems to be on the verge of being able to do anything asked of it, it seems only fitting to wonder about what we should be asking it to do. We probably all agree that high fidelity should yield a felicitous reproduction of music, but felicitous to what? Should a system give an accurate replica of what is on the disc, or of the original musical sounds?
Many audiophiles will look back on the summer of 1982 as the year the creeping cruds invaded their hallowed halls of hi-fi. In the Conrad Hilton hotel, where most of the high-end contingent gathered at the June 1982 Consumer Electronics Show, one exhibitor was featuring a videodisc presentation with wide-range audio and insisting that this was the way of the future. And at least three others had managed to smuggle in digital tape recorders (all Sony PCM-F1s), and were giving many CES visitors their first taste of real, unadulterated, digital reproduction.
This issue contains a report on a truly ingenious little device called the ABX Comparator, which takes the fraud out of subjective testing. It does this by making its own selection of source A or source B for each listening trial, without telling you which was selected. Only after all the tests will it reveal what you were listening to each time. "Score" sheets are provided so you can list your guesses, compare them with the cold, uncompromising truth, and file the results for posterity. Or better still, for the first hard evidence that has ever been presented that a lot of people can hear differences that cannot as yet be measured.
Not too many years ago, high-fidelity movement was being hailed from all quarters (and many halves) as a revolution. In the sense that it took the country storm, and made billions of dollars for many entrepreneurs during heyday, it was indeed a revolution. But now the public has grown tired of high fidelity and is turning other electronic diversionsvideo, video games, and computering. And what, as of this summer of 1982, do we have to show for the high-fidelity revolution?