Thirty-five years ago this month, the first issue of a new audio magazine—cover price 50 cents—cautiously made its way out of a Philadelphia suburb. Its black'n'white cover featured a chessboard adorned with tubes and XLR plugs. Its 20 advertising-free pages included a feature on how to write an ad for an audio product, which had been penned by one Lucius Wordburger, a footnote helpfully pointing out that this was the nom de plume for one J. Gordon Holt, "who wishes to remain anonymous."
Bookshelf loudspeaker. The phrase may be common usage, but I really dislike describing small speakers as "bookshelf" models. Place a pair of high-performance minis on a bookshelf against the wall and you destroy much of the sound quality for which you've paid. Yet place the same speakers on good stands well away from room boundaries, and while it could be argued that their footprint is no smaller than a conventional tower speaker, with the best designs you'll get true high-end sound, particularly regarding the accuracy of midrange reproduction and the stability of stereo imaging.
"What the heck is that icon trying to tell me?" I had switched on Denon's new DVD-3000 player—a cute "Welcome to DVD World" message scrolled across its display—and put a disc in its drawer. The icon, which looked at best like a Japanese character and at worst like a child's drawing of a house (complete with windows), was lit up in light blue on the display. But the game was given away by the magic words "96kHz 24 bit" illuminated in red below the mysterious icon. For this was no DVD movie, but a test pressing of Chesky's new Super Audio Disc, The Super Audio Collection & Professional Test Disc, which makes use of the DVD-Video specification's provision for including a two-channel, linear-PCM signal encoded with a 96kHz sampling rate and a word depth of up to 24 bits. (Contrary to what you may have read in the popular press, using DVD-Video to carry high-definition sound quality does not introduce a new and incompatible standard.)
They say that time flies on faster wings once you pass 40, something that I have found to be more true than I care to think about. Yet even considering the unfortunately subjective nature of time, it hardly seems possible that it was 10 years ago, in those golden days of the first Conrad-Johnson preamplifier, Infinity RS4.5 and Hill Plasmatronic loudspeakers, Infinity class-A and Audio Research D110B power amplifiers, that a small San Francisco company, led by a drummer and mechanical engineer who had previously worked on laser-fusion target design at Lawrence Livermore Laboratory, virtually invented the high-end cable industry. I say "virtually," because Jean Hiraga in France, Robert Fulton in the US, and Saboru Egawa in Japan had laid down considerable experimental work in the mid-'70s showing that interconnects and speaker cables were hardly the passive devices conventional engineering considered them, and the highly capacitative Cobra Cable, distributed in the US by Polk and in the UK by Monitor Audio, was already destroying marginally stable power amplifiers in 1977.
The French have a phrase for it: plus ça change, plus la même chose, which can be roughly translated as "the more things change, the more they stay the same." I was reminded of this when recently reading through the December 1980 issue of The Absolute Sound. There on p.368 was the statement that "Dave Wilson (Virgo) has joined the staff...to construct a testing program that will allow us to determine if some of the peculiarities and anomalies we hear in evaluating equipment can indeed be numerically measured."
Stuck out here in the desert depths of the Southwest, we look forward to visits from out-of-towners. So when David Wilson, one-time audio reviewer but now full-time high-end manufacturer, called to say he was going to be in Santa Fe, there was a flurry of activity. David had agreed to an interview, so I started going through back issues of The Absolute Sound and Stereophile for background. Vol.6 No.2 of Stereophile from 1983, with its front-cover photograph of David and Sheryl Lee Wilson with their WAMM speaker system, seemed a good place to start—except that nothing inside the magazine corresponded to the cover picture. It was the next issue that had featured Larry Archibald's write-up on the WAMM, and once I opened its pages, I got trapped into reading the entire issue.
You would have thought the hardware companies who trumpeted at the January 2006 Consumer Electronics Show that their video DVD players would be in US retailers' showrooms by September 1996 would have learned an important lesson from the bungled DAT launch almost 10 years ago: Without first getting complete agreement of the software industry on substantive issues, it's foolish to announce a firm launch date for a new medium. September came and went without DVD discs or players being available in US stores. In fact, all that happened was that the bottom fell out of sales of 12" laserdiscs and laserdisc players.