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Robert Harley Posted: Dec 09, 2007 Published: Aug 09, 1993 0 comments
To many audiophiles, the name Boston Acoustics is synonymous with mass-market budget loudspeakers. Although many of its products have offered good value for the money, Boston Acoustics has never been known for driving the envelope of high-priced loudspeaker design (footnote 1). The company has been content to churn out well-designed, affordable boxes and let others attempt state-of-the-art loudspeakers. Until now.
Robert Harley Posted: May 21, 2013 Published: Aug 01, 1993 0 comments
The loudspeaker designer's art has changed radically over the past 20 years. Although the goals are largely the same, today's designer employs tools and techniques unimaginable two decades ago. Computer modeling, powerful and affordable FFT machines, and sophisticated new driver technologies are just a few of the advantages enjoyed by the modern designer. The high-tech result is a vastly better loudspeaker—even inexpensive products today are significantly better than those of even five years ago, never mind 20.

The new Genesis III loudspeaker shows just how sophisticated the designer's art has become. The Genesis III is as far removed from the cones-in-boxes loudspeakers of yesterday as a Ford Taurus is from a Pinto. Combining a radically different cabinet with unusual custom drive-units, the Genesis III is a paradigm of how high technology has transformed loudspeaker design.

Robert Harley Posted: Jun 06, 2006 Published: Jul 06, 1993 0 comments
I find it astonishing that two products built on completely opposing engineering principles can both have musical merit. Design goals exalted by one company are considered anathema by another, yet both components produce superb sonic results.
Robert Harley Posted: Apr 11, 2008 Published: Jun 11, 1993 0 comments
At a "Meet the Designers" panel discussion at the 1992 Los Angeles Stereophile High-End Hi-Fi Show, I asked a group of successful digital designers (footnote 1) each to state how much of a digital front end's sound quality they believed was due to the transport, digital processor, and interface between the two. There was virtual unanimity: Nearly everyone agreed that a digital processor accounts for about 50% of a digital source's sound quality, the transport 30%, and interface 20%.
Robert Harley Posted: May 31, 1995 Published: May 31, 1993 1 comments
Choosing a loudspeaker can be difficult. Although it is easy to be seduced by a certain model's special qualities, that exceptional performance in one area is often at the expense of other important characteristics. Go with high-quality minimonitors for their spectacular soundstaging, but give up bass, dynamics, and the feeling of power that only a large, full-range system can provide. If you choose an electrostatic for its delicious midrange transparency, you may have to forgo dynamics, impact, and the ability to play loudly. Pick a full-range dynamic system for its bass and dynamics, but lose that edge of palpability and realism heard from ribbon transducers.
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Robert Harley Posted: Mar 22, 2009 Published: May 22, 1993 0 comments
When I taught a recording engineering program at a California college, one of my first responsibilities to new students was to clarify for them what recording engineering was really about. Many of them entered the program with the impression that recording was nonstop glamor, with a significant part of the job devoted to partying with their favorite rock bands. It was my job to tell them the bad news: Recording was more about lying on your back underneath a recording console on a dirty studio floor with hot solder dripping on your face.
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Robert Harley Posted: Apr 06, 1993 0 comments
At a CES press breakfast in Las Vegas last January, a member of the "all amplifiers (and digital sources!) sound the same" school of audio journalism made an interesting assertion. He argued that if our society were studied by extraterrestrials, they would find an unhealthy obsession with the re-creation of experience at the expense of experience itself. This speculation was a vehicle to support his position that buying good hi-fi is a waste of money; for the same financial outlay, one can attend hundreds, even thousands of live performances. Moreover, this anti-high-end writer suggested that ETs would consider our quest for better music reproduction a bizarre folly when the real thing is so readily available (footnote 1).
Robert Harley Posted: Apr 27, 2012 Published: Mar 01, 1993 5 comments
There are as many ways of designing a digital-to-analog converter as there are engineers. One approach is to select parts from manufacturers' data books and build the product according to the "application notes" provided by the parts manufacturers. This is the electronic equivalent of a paint-by-numbers kit.

A more creative engineer may add a few tricks of his own to the standard brew. Bigger and better regulated power supplies, careful circuit-board layout, tweaky passive components, and attention to detail will likely make this designer's product sound better than the same basic building blocks implemented without this care. Indeed, the vast range of sonic flavors from digital processors containing very nearly the same parts attests to the designer's influence over a digital processor's sound.

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Robert Harley Posted: Apr 27, 2012 Published: Mar 01, 1993 0 comments
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.

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Robert Harley Posted: May 01, 2009 Published: Jan 01, 1993 0 comments
"Everybody, including myself, was astonished to find that it was impossible to distinguish between my own voice, and Mr. Edison's re-creation of it."—Anna Case, Metropolitan Opera Soprano, 1915

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