As I write this, I am recuperating from four days of frenzy at the 1986 Winter CES in Las Vegas, Nevada. I am also pondering why I was so unexcited by most of what I saw and heard of the high-end exhibits; high-end audio may have reached a developmental plateau of sorts.
Eleven years ago, Threshold Corporation entered the high-end audio market with the first amplifier ever to use sliding bias (footnote 1) in its output stages. Some 10 years later, Threshold spawned another innovation: their so-called Stasis circuitry, which yielded the S-series amplifiers. The SA-1 and its lower-powered sister SA-2 are the latest from Threshold, and are the first Threshold amps to abandon sliding bias for straight class-A operation. Both use the Stasis circuit.
Several issues back, I mentioned a major "new wave" of power amplifiers coming along: the Adcom 555, the New York Audio Labs transistor-tube hybrids, and the latest Krells, for example. They demonstrate that major audible improvements are still possible in something as well-explored as the power amplifier. Not only that, some of these products demonstrate that superior performance can be combined with relatively low price.
The title of this month's column is the legend Sheffield Labs emblazoned on a T-shirt a couple of years ago, to promote their jaundiced view of digital audio. Since then, even Sheffield's reactionary perfectionists softpedalled their anti-digital crusade, perhaps because of the number of CDs they've been selling! Their personnel no longer wear those T-shirts at CES, which is unfortunate. Although most people in the audio field no longer see digital audio as madness, digital denouncing is still very much with us.
Many audiophiles who have only recently subscribed to Stereophile will be surprised to find that those clunky, heat-producing, short-lived tubes that reigned up through the mid-'60s are still Executive Monarchs in the mid-'80s. Why, for Heaven's sake? Because, despite everything, people like them.
Almost 30 years ago, Columbia records issued a unique disc called The Art of Jonathan and Darlene Edwards. Darlene sang and Jonathan played piano, and the jacket notes rhapsodized about the depth of feeling they brought to their duos, despite some imperfections of technique.
Is it possible to make a $700 "mainstream-audio" power amplifier sound exactly like a high-priced perfectionist amplifier? Bob Carver, of Carver Corporation, seemed to think he could, so we challenged him to prove it.
As you may have noticed, Stereophile's approach to equipment testing is quite different from that of "mainstream" audio publications. Instead of throwing a bunch of measurements at you, and telling you how we think components ought to sound because of those measurements, we test them as you would: by listening. But we have an extra problem: we have to convey to someone else—you—a feeling for what we hear from that component. It ain't always easy.
Once upon a time, in audio's infancy, anyone who wanted better than average soundaverage sound during the 1940s being rich, boomy and dullhad no choice but to buy professional loudspeakers. In those days, "professional" meant one of two things: movie-theater speakers or recording-studio speakers. Both were designed, first and foremost, to produce high sound levels, and used horn loading to increase their efficiency and project the sound forwards. They sounded shockingly raw and harsh in the confines of the typical living room.
Now that Stereophile's reporting on the 1985 Summer Consumer Electronics Show has ended (I hope!), I would like to express strong dissent with its style and content. In fact, I believe that most of it should never have appeared in print.