This is something we don't see too often: an entirely new approach to power amplifier design. As Quad points out in its literature for the 405, class-A operation of transistors provides the lowest distortion, but drastically limits the amount of power an output transistor can deliver without overheating. (Most transistor amps use class-AB output operation, in which each of a pair of power transistors handles part of each signal cycle and shuts down during the other part. Imperfect synchronism between the two halves causes the familiar "crossover distortion," which accounts for most solid-state sound. In class-A operation, each output transistor draws current though the entirety of each signal cycle, eliminating the crossover transition but doubling the amount of time current is drawn, and thus tending to cause the transistor to heat up more.)
Few people in the audio business would deny that John Curl is an audio design genius—arguably the greatest one of our generation. He designed and built the electronics for Mobile Fidelity's SuperMaster and David Wilson's (of Wilson Audio) UltraMaster tape recorders, two of the three best analog recorders in the world. (The other is Keith Johnson's home-brew unit.) He designed the JC-1 head amp and JC-2 preamplifier sold under the Mark Levinson name some years ago. He designed head amps for SOTA, Michaelson & Austin (TVA), and has done consulting work for more high-end companies than you can shake a stick at.
Several issues back, we reviewed rather enthusiastically a pre-production prototype of this preamp. The original was an unprepossessing-looking device on two chassis, interconnected by a 3' umbilical, with a squat little preamp box and an even squatter power supply with humongous cans sticking out the top. We averred that it sounded nice. The production model is so nicely styled and functionally smooth that we wondered if it might not be another Japanese product. 'T'ain't.
I must admit that even before I connected up this amplifier I was put off by the accompanying literature. B&K makes some persuasive points about the validity (or rather the lack thereof) of some traditional amplifier tests, but the literature was so loaded with flagrant grammaticides, syntactical ineptitudes, and outright errors that I could not help but wonder if the same lack of concern had gone into the product itself (eg, the term "infrasonic" is used throughout to mean "ultrasonic"). Good copy editors aren't that hard to find; B&K should have found one.
Our long-awaited laser-audio disc player (usually called the CD, for "Compact Disc") finally arrived, along with a real bonanza of software: two discs—a Polygram classical sampler of material from Decca, Deutsche Grammophon and Philips, and a Japanese CBS recording of Bruckner's 4th Symphony, with Kubelik.
As of February, 1982, the ownership of this publication passed to other hands. In total despair about its precarious finances, JGH accepted with alacrity an offer by Larry Archibald (an occasional contributor in recent years) to purchase the magazine. This has now come to pass, and it is because of the resulting infusion of money that you are holding this issue in your hot little hands now instead of three months from now (and that is probably being a little optimistic about the way things were).
High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.
Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.
Editor's Introduction: Thirty years ago this month, in September 1962, J. Gordon Holt, lately Technical Editor of High Fidelity magazine, was working on the contents of the first issue of his brainchild The Stereophile, a magazine that would judge components on how they actually sounded. We thought it appropriate, therefore, to use the occasion of the 1992 Summer Consumer Electronics Show, held in late May in Chicago, to invite some 200 members of the international high-end industry to a dinner to celebrate the occasion. Larry Archibald dug deep into the magazine's coffers; Ralph Johnson took time off from organizing the 1993 High End Hi-Fi Show to burn up the long-distance telephone lines faxing invitations; the conversation was excellent, the food superb, and the wine even better. Which is probably why the venerable JGH took the opportunity to remind the assembled luminaries what this whole business is supposed to be about. Here follows the text of his speech. I hope you find it as stimulating reproduced in these pages as did those who heard it live.—John Atkinson