While the LP-vs-CD debate continues unabated among high-end audiophiles, the rest of the world has already closed the book on the venerable LP. All but a few specialized classical record companies (footnote 1)(and some weird magazines) have ceased releasing new LPs, few record stores sell them any more, and consumers who wouldn't be caught dead owning something that wasn't trendy have long ago dumped their LP collections for cents on the pound.
When sociologists tell us America is a highly mobile society, they don't just mean we do lot of driving. What they mean is, we do a lot of moving. The good old three-generation family homestead, immortalized in nostalgia TV and literature, is a thing of the past. According to census information, almost 20% of America's population changes its address every year. Of course, it's usually a different 20% every year, but pulling up roots and moving---to a bigger house, a better neighborhood or a nicer city, not to mention a place where your employer decides to transfer you---is almost as commonplace across the US of A as marriage, divorce, and unbridled greed.
From time to time in this column, I have alluded to what appears to be a loss of direction in high-end audio. It's not that the state of the audio art has stopped advancing; the technology is improving in many ways, as is obvious every time we listen to a new preamplifier or cartridge or loudspeaker that has better this, that, or the other thing than anything which has come before. The problem is that these improvements don't really seem to be getting us anywhere. And I believe the reason for this is that the audio community no longer agrees about where audio is supposed to be going in the first place.
When I attended Britain's Heathrow Penta hi-fi show in September 1987, I had hoped to come back with big news about some breakthrough cartridge or preamp or loudspeaker system. I didn't. No, the talk of the Penta show was something called the "Belt Phenomenon," which may possibly be a breakthrough of some kind, but then again, it may not.
1987 will mark Stereophile's 25th year of continuous (if initially sometimes sporadic) publication. And while we haven't yet decided what we're going to do in celebration, the first issue of 1987 does seem to be as good a time as any to contrast the state of the audio art when we began publication with what is routinely possible today.
The Question of Bass: J. Gordon Holt A few issues back, in Vol.9 No.3, I used "As We See It" to clarify what Stereophile writers have in mind when they use the term "transparency" in equipment reports. This time, I'll do the same thing for the performance parameters of bass reproduction.
According to a recent newsletter sent to its regular contributors, our "competition"—The Absolute Sound—sees "controversy and confrontation" as the core of its editorial policy. By contrast, Stereophile sees as its modus schtickus an unflagging devotion to, and pursuit of, truth, reason, all of the eternal verities (including some you never heard of), and the intelligent exchange of informed ideas. In honor of all of the above-mentioned precepts (as well as some I didn't mention), this issue of Stereophile is largely devoted to the confrontation between knowledgeable writers for whom the widely proclaimed perfection of the Compact Disc remains a controversial issue.
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.
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.
Editor's Note: In 1985 and 1986, an argumentative thread ran through Stereophile's pages, discussing the benefits or lack of double-blind testing methods in audio component reviewing, triggered by J. Gordon Holt's review of the ABX Comparator. As this debate is still raging nearly 15 years later, we present here the entire discussion that bounced back and forth between the magazine's "Letters" section and features articles. It was kicked off by a letter from C.J. Huss that appeared in Vol.8 No.5.—John Atkinson