A persistent complaint from some of our readers concerns our seeming preoccupation with exotic components. (Presumably what they mean are scarce, unusual, or hard-to-find components, because "exotic" really means "from a foreign country," and there is sure as hell nothing hard-to-find about a Panasonic receiver.) "Why," you ask, "do you devote so much space to reports on components we can't buy from our local audio discounter? Why can't we have more reports about products from the old, established, reliable companies like KLH, Harman/Kardon, Electro-Voice and Sansui, whose stuff we can listen to at a local dealer before we commit our hard-earned dollars to a purchase?" One subscriber even cancelled his subscription because of this, claiming that the unavailability of the products we review makes our reports "irrelevant." Well, he had a point, but not a very good one.
Some time ago in these pages, Anthony H. Cordesman observed rather ungraciously that the whole line of Hafler electronics "could do with reworking." This was interpreted by many readersincluding the good people at the David Hafler Companyas meaning that AHC felt the entire Hafler line to be mediocre. In fact, he does not. (He had given a Hafler product a positive review a few issues previously.) Tony's comment, however, did express a sentiment that most of us at Stereophile have shared for some time: a feeling that Hafler products had slipped from the position of sonic preeminence which they enjoyed during the 1960s and '70s to one of mere excellence in a field where only preeminence is acclaimed.
Now that Sony has bought CBS's records division, and the infamous Copycode bill seems to be dying in Congress, the way may be clearing at last for the US introduction of the new Digital Audio Tape system. This has sparked renewed speculation in the industry about the impact DAT will have on existing formats, particularly the fledgling CD. Some are convinced DAT will kill CD, because of its ability to record as well as play digital recordings. Others believe DAT won't even gain a foothold in the market, for the same reason quadraphonic sound laid an egg back in the '70s: The public can't handle more than one "standard" format. I feel that both views are wrong, and thatas is usually the case with extreme viewsthe truth lies in between. I believe DAT will catch on in the marketplace, but never in a big way, and certainly not the way CD has. Here's why.
During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and Doug Sax had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.
Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
Until recently, I have considered LaserVision video discs as a rather dubious medium for serious music reproduction. The only review I had read about it by a critical listener (Harry Pearson in The Absolute Sound) was I singularly unenthusiastic, and since I had not heard one myself, I was inclined to take his word for it.
Although inclined to mood swings bordering on the manic-depressive, I am generally a very patient, tolerant person, willing to accept and overlook the foibles of those less perfect than myself. But even my incredible equanimity has its limits, beyond which the milk of my human kindness curdles, becoming as lumpy as last month's yogurt.
Now that Stereophile's reporting on the 1985 Summer Consumer Electronics Show has ended (I hope!), I would like to express strong dissent with its style and content. In fact, I believe that most of it should never have appeared in print.
When it comes to video, most audiophiles are insufferable snobs. These normally reasonable people, who are among the first to admit that great sound in a motion picture theater makes a great film much more enjoyable, nonetheless. scoff at the very idea of augmenting their own sound with images, or of trying to create the kind of audio-visual experience in their home that they routinely enjoy at the cinema. Doing that involves video, which they equate with TV, which they equate with LCD (footnote 1) dross. This is unfortunate, because visuals can enhance good sound, and good sound can do wonders for non-TV video programs like Hollywood motion pictures.