In the summer of 2011, Stereophile's long-time editor in chief, John Atkinson, was invited by the Technical Council of the Audio Engineering Society to give the Richard C. Heyser Memorial Lecture at the 131st Audio Engineering Society Convention in New York, October 21, 2011.
The cover is cracked. It is time to rip it off, look directly at the inner workings, and begin to fix things for ourselves.Matthew B. Crawford, Shop Class as Soulcraft: An Inquiry Into the Value of Work
In an e-mail exchange with Stephen Mejias about why the mere mention of cassette decks on www.stereophile.com can so easily inflame our readers (and John Atkinson), I began to develop the idea that the brains of audiophiles and music lovers are governed by three complementary needs, or desires, that define who we are. I joked to SM that these desires, which apparently shift over time, constitute the Holy Trinity of Audiophiledom. They are, respectively, the love, desire, and need for:
The drive home from Montreal and the Salon Son & Image show is smooth and uneventful. The snow kindly stops just as John Atkinson and I climb into his Land Cruiser, the woman at Customs lets us into the US with little fanfare, and, there isn't much to set the heart racing. Every fifty or so miles, the highway's long dividing guardrail is punctuated by some enormous brown birda once majestic body that owned the sky is now slung awkwardly and pitifully over cold steel. It's sad that something so beautiful and strong can die so quietly. But quiet abounds out here. The sky seems to move nearly as fast as we do, clouds cling to tall mountains, and winds tug at the Cruiser's tires.
A psychological theory (footnote 1) that I've always been fond of is the one that proposes the perceptual/personality dimension of Sharpening vs Leveling. As defined by the early Gestalt psychologists, Sharpening is an exaggeration of differences, Leveling a minimization of differences. In visual-perception research on this topic, when test subjects were presented with an asymmetrical figure, some later recalled it in ways that exaggerated the figure's asymmetry (Sharpeners), while others minimized or eliminated it (Levelers).
Much has been made of the influence that Linn, Naim, and Rega have had on our ideas about music-system hierarchies: Before they and a handful of other British audio manufacturers kicked off the debate in the 1970s, the conventional wisdom worldwide was that the loudspeaker was more important than the record player, amplifier, or any other link in the domestic audio chain, and thus deserved to be the object of significantly greater care and attention, not to mention investment of cash. But the Brit-fi approach was different, and ostensibly better reasoned: Because musical information that's distorted or dropped entirely by a record player, a CD player, or any other source can't be made right by any other component in the system, it is the source that must be considered the most important component of all, and to which the majority of funds should be allocated.
At the end of August, we watched as the number of registered users in our online forums quickly ticked past the 10,000 mark. Ten thousand registered users! While it might prove interesting to learn just how that number breaks down into men and women, old and young, subjectivists and objectivists, or any of several other demographic and philosophical divides, that would only obscure the point: In our online forums, there are over 10,000 members who are eager to share their enthusiasm for music and hi-fi. What a beautiful thing!
Because loudspeakers interact with the acoustics of the room in which they are used, optimizing their positions within that room pays major dividends. Inexpensive speakers, optimally set up, may well outperform more expensive models just plonked down willy-nilly.
In the 1970s, a small black-and-white ad sometimes ran in the pages of Playboy magazine. The ad pictured an attractive young woman with lots of disheveled hair and a crooked grin. There was little else to the ad other than the headline, which the reader would assume was being spoken by the model: "It takes more than Martinis to build an image, Mister!"
It was a simple little thing that turned into so much more. Michael Lavorgna started it. Out of the blue and as sudden as spring, he sent an e-mail to me and speaker designer John DeVore: "Let's plan a trip to the Princeton Record Exchange!" And, just in case 60,000 beautiful LPs wouldn't be enough of a lure, Michael put a cherry on top: "The Triumph Brewing Company is right next door!"
A few nights ago, I listened to mezzo-soprano Lorraine Hunt Lieberson's recording of J.S. Bach's great solo cantata, "Ich habe genug" (It is enough), BWV 82 (Nonesuch 79692-2). Hunt Lieberson was one of those rare mezzos, like Janet Baker and Kathleen Ferrier before her, whose voice conveyed an innately spiritual sense of connection with something greater than the individual self. Especially when she sang softly, she was able to imbue her tone with a hallowed reverence that is easier to feel than describe in words. To the extent that anyone can communicate the "tender mercies" and sacred intimacies of life, love, and spirit, Lorraine Hunt Lieberson proved herself a master.
Back on April 13, Stereophile assistant editor Stephen Mejias posted the following thought on his "Elements of Our Enthusiasm" blog: "Is it possible to listen to music and listen to the hi-fi? Or are they two entirely different activities, incomparable and incompatible? Right now, for me, they seem to have nothing in common, whatsoever."
A fellow member of the Bay Area Audiophile Society recently forwarded to me a link to Wikipedia's entry for audiophile. It's a horror. Even before the page defines the word, it begins with a large question mark, circled in green, and the warning, "This article or section may contain original research or unverified claims. Please help Wikipedia by adding references."