This series of articles was initially written (in slightly different form), as a paper presented at the 103rd Audio Engineering Society Convention, New York, September 1997. The preprint, "Loudspeakers: What Measurements Can Tell Us—And What They Can't Tell Us!," AES Preprint 4608, is available from the AES, 60 East 42nd Street, Room 2520, New York, NY 10165-0075. The AES internet site, www.aes.org, offers a secure transaction page for credit-card orders.
It was a powder blue Pinto. Brand new, it drove like a bowl of Jello with wheels. No matter how firmly I gripped the steering wheel, I had no confidence that it had any kind of relationship with the wheels on the road. And pickup? There was none. But because its designers had sacrificed all quality to build it cheaply, the Ford Pinto was equally cheap to rent when I did so back in 1980.
For the seventh consecutive year, Stereophile has named a select few audio components the "Products of the Year." In doing so, we recognize those components that have proved capable of giving musical pleasure beyond the formal review period.
This series of articles was initially written (in slightly different form), as a paper presented at the 103rd Audio Engineering Society Convention, New York, September 1997. The preprint, "Loudspeakers: What Measurements Can Tell Us—And What They Can't Tell Us!," AES Preprint 4608, is available from the AES, 60 East 42nd Street, Room 2520, New York, NY 10165-0075. The AES internet site, offers a secure transaction page for credit-card orders.
When I compiled the votes HI-FI '98 attendees had cast for "Best Sound at the Show," the ultimate winner was the room and system assembled by Los Angeles retailer Christopher Hansen 2---the latest Evolution 2 version of the mighty Martin-Logan Statement electrostatic speaker system, driven by multiple VTL Wotan two-chassis tube monoblocks. Cabling was Cardas Neutral Reference, and the digital front end was by Wadia---a 270 CD transport and the new 27i digital decoding computer---with some tonal shaping courtesy of a Z-Systems Transparent Tone Control. Component stands were from pARTicular.
A dream I have had since I discovered the pleasures of music is to possess a time machine. Not a fancy one, just a small device that would allow me to escape modern music-making and drop in to hear what must have been some of the greatest musical experiences of all time. Classical music presents no problems: Off to 18th-century Leipzig on Sunday, of course, to hear J.S. Bach play the organ in church, after an early 19th-century Saturday evening spent in Vienna listening to Beethoven improvising at the pianoforte. During the week it would still be Vienna, but forward 80 years or so to hear Brahms premiere one of his chamber works after afternoon cocktails at the Wittgensteins', with perhaps a trip to England's Three Choirs Festival just before the Great War to hear the first performance of Elgar's Dream of Gerontius. And the time machine would have to have transatlantic range—I couldn't miss Mahler conducting the New York Philharmonic around the same time. But with jazz and rock—music that is reborn every time in performance to a greater extent than in classical—there is a bewildering choice of live events from which to choose.
Nicholas Negroponte, Professor of Media Technology at MIT's Media Lab, is somewhat of a hero of mine, not the least because in his 1995 book Being Digital (Alfred A. Knopf), he mentioned specialty magazines as being a paradigm (of a sort) for the information-rich future. The role of a magazine such as Stereophile is to act as an intelligent (we hope) filter applied to the breadth and depth of human activity. Those who define themselves by their interest in the publication's specialty can therefore go to just one source to find everything of relevance.
As with past HI-FI Shows, we asked visitors to HI-FI '98 to vote for the room that offered what they thought to be the best sound. The ballot in the Show Guide asked visitors to list the best, second-best, third-best, and worst sounds, for which I allocated 3 points, 2 points, 1 point, and -1 point, respectively. Any exhibitor that received more than 0.7% of the total votes cast is listed in the Table. I've tried to include both the exhibitors and the brands demonstrated, as listed in the Show Guide and in our report text in the September issue of the paper Stereophile. My apologies if I've left anyone out.
It's the voice that grabs you first, balanced preternaturally high in the mix. As the singer effortlessly projects the vocal line, imperceptibly grabbing breath without disturbing the long, meandering melody, you can't help but realize what a superb instrument she had. As the song's harmonies modulate their way to the dominant, the bass guitar stubbornly sticks to the tonic so that what would otherwise be a conventional chord progression is transformed into a yearning series of suspensions echoing the lyric's despair. As guitarist Tony Peluso hammers down on his power solo, his instrument so fuzzed and compressed that the very plectrum strokes are thrown forward as disconnected transients, it becomes evident that there are layers upon layers to the backing vocals, each carefully placed upon the others by a master orchestrator, each appropriately filling in the gaps in the harmonies without turning the mix to glutinous syrup.