As a card-carrying member of the Audio Engineering Society and an avid audiophile, I was particularly disturbed by the ideas expressed at the 1990 AES Conference entitled "The Sound of Audio." (A report on the papers presented appears in this month's "Industry Update" column.) The tone of the three-day session in May was set during the Conference Chairman's opening remarks. He said that an AES conference on the sound of audio was "unusual" and "out of the mainstream." Further, he expressed a common underlying attitude among the AES that "audiophile claims" (of musical differences between components) have been "nagging us" and are "an annoyance."
Procrustean bed: a scheme or pattern into which something or someone is arbitrarily forced. Procrustes: a villainous son of Poseidon in Greek myth who forces travelers to fit into his bed by stretching their bodies or cutting off their legs.Webster's Ninth New Collegiate Dictionary
Just about everyone knows that a new high-quality digital audio disc, called DVD, is being developed by the world's electronics giants. What few realize, however, is how politics and corporate politics influenced the format's technical specifications. The result may be unnecessary sonic degradation for millions of music listeners.
The announcement in October 1995 of the Digital Versatile Disc (DVD) set the hearts of audiophiles and music lovers pounding. Although primarily a digital video and computer-data storage format, DVD's massive capacity could be applied to a "super CD" audio-only disc. Finally we would be liberated from the musical limitations of the CD's 16-bit word length, 44.1kHz sampling rate, and two-channel format. We were tantalized by reports of 96kHz sampling rate, 24-bit word length, and multichannel playback. Digital redemption appeared to be just around the corner.
Ed Meitner is one of those rare individuals who charts his own course in audio product design. From his platterless turntable of the mid-1980s to his new Intelligent Digital Audio Translator (IDAT, reviewed elsewhere in this issue), Ed Meitner's products have been distinguished by original thinking and innovative engineering. Although not all his designs have been commercially successful, in each he has attempted to advance the state of the art by rethinking fundamental principles.
Ed is also pursuing an ambitious project that would radically change the way recordings are made. It began when he recorded an electric guitar through a 10" guitar-amp loudspeaker and was dismayed that it was impossible to even come close to capturing and realistically reproducing this apparently simple sound through another 10" speaker. This experience launched his investigation into why reproduced sound is never mistaken for live music, a quest that may result in a radically new recording technique.
The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?
What's this? A review of a $3000 moving-coil step-up transformer in this digital day and age? Yep. Although the market for such a product is small, the fact that the Expressive Technologies SU-1 step-up transformer enters previously uncharted state-of-the-art territory warrants these pages of editorial space. Furthermore, LP playback appears to be alive and well at the upper end of the high-end spectrum, a market segment addressed by the SU-1 (footnote 1).
During the late 1970s and early '80s, I worked my way through college by selling hi-fi, or more precisely, mid-fi. During those years, I heard and sold several hundred different loudspeakers costing under $1000/pair. Despite the fact that I experienced them under less than ideal conditions, I was nevertheless able to get a feel for their relative performance. When switching between speakers, the differences between them were drastically juxtaposed. No two loudspeakers sounded even remotely similar tonally, indicating that they all had severe colorations.
Just when you thought it was safe to put green paint around the edges of your CDs without ridicule, there's yet another CD tweak that's sure to bring howls of laughter from the skeptics: cryogenically freezing CDs. They won't be laughing for long, however, when they hear for themselves the sonic results of this process.