Remember the old mathematical riddle about moving a football from a hundred yards out to the goal line? Known as Xeno's Paradox, it goes like this: if each time the ball is moved it travels half the distance to the goal, how many moves will it take to get there? The answer: an infinite number, because no matter how many times you cut the distance to the goal by half, you'll always be some infinitesimal distance away from it.
Some folks claim to have actually seen the legendary Bigfoot, the enormous, manlike beast said to roam the backwoods of the Pacific Northwest. Others have stood in his footprints or plucked foul-smelling patches of hair from trees he has recently passed. A few have gotten close enough to take vague snapshots or shaky video clips of the beleaguered creature. One or two attest to frightful chance encounters with him. His size alone has given rise to rumors that he is dangerous, but no firm evidence has ever been produced to substantiate this.
Throughout the history of the animal kingdom, sounds have always been full of meaning. They provide valuable information on the whereabouts of prey and predator, the location of family, the intentions of friend and foe. Sound cues have always been as important as information obtained by scent and sight.
You're a typical audiophile. You read this magazine and others like it cover to cover, month after month, keeping up with industry trends and insider gossip. You've ingratiated yourself with every hi-fi dealer in your area, all of whom will let you take equipment home for extended auditions, give you generous trade-in allowances, and sell to you at a small percentage above their cost. Never pay retail, you chuckle to yourself, checking the newspaper's classifieds for audio bargains.
Editor's note: When Jonathan Scull reviewed the Shun Mook devices back in 1994, he unleashed a hailstorm of controversy that continues to this day. Below is his original report along with some of the follow-up articles and fallout.
The audio community's "Great Debate" has reached an amazing level of absurdity. On one side are the Objectivists, whose rationalist argument insists that all human auditory experience is the result of electro-physical phenomena which can be measured and mapped using established scientific methods. On the other side are the Subjectivists, romantics who believe in the synergistic interplay of music, room, equipment, and listener, and whose attempts to describe their experiences tend toward the florid and metaphorical.