In a press conference held September 28 at Sony Music Studios on West 54th Street, MusicGiants —see Wes Phillips' earlier story on this company—announced the launch of a new music download service that offers CD-resolution digital recordings from the major artists on the major music labels, EMI, Sony/BMG, Universal, and Warner.
I recently had a house guest who is a music lover and amateur pianist but who had never heard of the SACD or DVD-Audio formats. I explained what they were and demonstrated examples of both, to his amazement. He then blew them off, saying that my system always sounds great and that the average person couldn't or wouldn't afford the kind of equipment I have. But when I told him that there were universal players available for less than $200 at retail and that, in fact, the player I was using was based on a transport drawn from a similar mass-market product, his interest was piqued. Of course, I didn't emphasize that one's expectations may not be the same, or that the boys designing the high-end stuff do make it sound different and, usually, much better. Heck, I'll do whatever I can to hook a music lover on these new formats, even if their future is uncertain. Once he's hooked, audiophilia will have him forever.
Looking back to see which of the multichannel discs I've reported on that have made a splash in the market, I detect an ominous trend. Most are reissues of classic performances, including all the RCA Living Stereo and the Mercury Living Presence SACDs, as well as a number of classic jazz and rock albums (including yet more editions of Kind of Blue, Dark Side of the Moon, and Brothers in Arms).
In this, its 50th year of company operations, Phase Technology announced and demonstrated a new type of loudspeaker system. The series, named dARTS for Digital Audio Reference Theater System, is obviously aimed at the custom-install, home-theater market, but the components and concepts are applicable to music reproduction in any number of channels. As described by PT's director of sales and marketing, Tony Weber, the dARTS system is (1) modular and (2) actively powered and equalized by DSP, incorporating Audyssey's MultiEQ XT for digital room correction.
The ongoing reissues of Mercury Living Presence and RCA Living Stereo recordings, have been the signal successes of the SACD format. Despite having been recorded in only (!) three channels, these releases have given us very good justifications for going beyond two-channel stereo to get as unrestricted a hearing as possible of live performances.
Ever since I installed dedicated power lines for my multichannel system, I've been wrestling with the issues of surge protection, power conditioning, and voltage regulation. I start with a bias based on decades of happy listening without being concerned about any of these problems, and my belief that competent electronic components must be, and are, designed to perform in the real world. After all, whether the device's AC power supply is a traditional transformer-bridge-reservoir or a switching supply, its output should be a DC source that is sufficient to let the active circuitry meet its specifications. Many manufacturers, such as Bryston, recommend bypassing any line conditioners and plugging their components directly into the AC outlet.
This lapsed fan of electrostatic speakers finds it curious that, while MartinLogan is the predominant representative of this technology in the US, I had never auditioned an ML design in my home. I've enjoyed many Janszen tweeters, a KLH 9, an AcousTech X, Stax ELS-F81s, and I've dallied with Quad ESL-63s. But as dumb luck would have it, the first MartinLogan speaker to reach me, the new Montage, is a hybrid model.
When I was a young amateur photographer, I subscribed to all the major photo magazines and avidly read all the articles. However, I was bugged when I realized there was a cycle of repetition—that I was reading about the basics of Ansel Adams' Zone System for the third time.
The modification of disc players is a hot topic on the various audio newsgroups, where the discussion includes do-it-yourself options and the recommendations of commercial modifiers. These range from tweak guys to such serious engineering firms as EMM Labs and everything in between. Not surprisingly, the objects of these endeavors are usually players made by one of the electronic behemoths: Sony, Philips, Technics, Toshiba, etc. In fact, it was just such a discussion that precipitated John Atkinson's purchase of and recent comments on a stock Toshiba 3950 player, a popular target of modifiers.
Along with speakers and their placement, the greatest influence on the sound of a music system are the acoustics of the room itself. With two-channel stereo, some reflections and reverberations are necessary in order to maintain the perception that one is listening in a real space. So, while many experts recommend having a "dead" end behind and near the speakers that absorbs most sound, few suggest such treatment for the rest of the room. With too few sonic reflections, the stereo image would narrow; without the aid of "room gain" to enrich the bass, the sounds of instruments and voices would be thin. Listening in an anechoic chamber is interesting and informative, but far from pleasurable.