Robert Harley

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Robert Harley Posted: Feb 06, 2009 Published: May 06, 1991 0 comments
Procrustean bed: a scheme or pattern into which something or someone is arbitrarily forced.
Procrustes: a villainous son of Poseidon in Greek myth who forces travelers to fit into his bed by stretching their bodies or cutting off their legs.—Webster's Ninth New Collegiate Dictionary
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Robert Harley Posted: Dec 20, 2008 Published: Apr 01, 1991 0 comments
The whole field of subjective audio reviewing—listening to a piece of equipment to determine its characteristics and worth—is predicated on the idea that human perception is not only far more sensitive than measurement devices, but far more important than the numbers generated by "objective" testing. Subjective evaluation of audio equipment, however, is often dismissed as meaningless by the scientific audio community. A frequent objection is the lack of thousands upon thousands of rigidly controlled clinical trials. Consequently, conclusions reached by subjective means are considered unreliable because of the anecdotal nature of listening impressions. The scientific audio community demands rigorous, controlled, blind testing with many trials before any conclusions can be drawn. Furthermore, any claimed abilities to discriminate sonically that are not provable under blind testing conditions are considered products of the listeners' imaginations. Audible differences are said to be real only if their existence can be proved by such "scientific" procedures (footnote 1).
Robert Harley Posted: Aug 04, 2008 Published: Oct 04, 1990 0 comments
Triad Speakers has been designing and manufacturing three-piece (woofer and two satellites) loudspeaker systems since 1982. The company was formed that year by designer Larry Pexton and has enjoyed steady growth in their market niche. Their original three-piece loudspeaker was a collaboration with Edward M. Long, of "Time-Align" fame, and Ron Wickersham. It was felt that the ideal loudspeaker would have the least cabinet interference, thus the design decision to keep the woofer separate and the midrange/tweeter enclosure small. Triad speakers were selected for inclusion in the Consumer Electronics Show's Innovations 1990 Design and Engineering Showcase, the sixth time the company's products have been selected for this award.
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%.
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Robert Harley Posted: Apr 09, 2008 Published: Jun 09, 1992 0 comments
What's this? A review of a $3000 moving-coil step-up transformer in this digital day and age? Yep. Although the market for such a product is small, the fact that the Expressive Technologies SU-1 step-up transformer enters previously uncharted state-of-the-art territory warrants these pages of editorial space. Furthermore, LP playback appears to be alive and well at the upper end of the high-end spectrum, a market segment addressed by the SU-1 (footnote 1).
Robert Harley Posted: Apr 04, 2008 Published: Mar 04, 1995 0 comments
The idea of mating a dynamic woofer to a ribbon midrange/tweeter is appealing on paper. Such a "hybrid" loudspeaker would have the many advantages of a dipole ribbon transducer, yet be more practical and affordable than full-range ribbon designs. Among the ribbon's great strengths is its narrow vertical dispersion (reducing the ceiling and floor reflections), contributing to the ribbon driver's well-deserved reputation for transparency, terrific soundstaging, transient zip, and excellent resolution of detail. By adding a dynamic woofer to a ribbon midrange/tweeter, the system cost can be contained compared to a full-range design.
Robert Harley Posted: Mar 06, 2008 Published: Oct 06, 1990 0 comments
During the late 1970s and early '80s, I worked my way through college by selling hi-fi, or more precisely, mid-fi. During those years, I heard and sold several hundred different loudspeakers costing under $1000/pair. Despite the fact that I experienced them under less than ideal conditions, I was nevertheless able to get a feel for their relative performance. When switching between speakers, the differences between them were drastically juxtaposed. No two loudspeakers sounded even remotely similar tonally, indicating that they all had severe colorations.
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Robert Harley Posted: Jan 03, 2008 Published: Aug 03, 1994 0 comments
"You've set the audio industry back 20 years!"
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: Dec 09, 2007 Published: Dec 09, 1989 0 comments
The acoustic environment for music reproduction is easily the most overlooked source of sonic degradation. Many fine playback systems are compromised by room-induced anomalies that severely color the reproduced sound. When we live in a world of directional wire, high-end AC power cords, and $4000 CD transports, paying attention to the listening room's contribution to the musical experience takes on greater urgency.

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