Call me naÏve, but I thought the Hi-Fi Wars were merely in-house squabbles. Yes, meter-carrying objectivists and wide-eyed subjectivists can carry on worse than Republicans and Democrats in Congress. But I always figured that once someone cues up <I>Dark Side of the Moon</I> or <I>Kind of Blue</I>, the partisanship subsides as we revel in our common passion for music and sound. C'mon, everybody—group hug! Okay, I exaggerate.
We get requests all the time from readers who want to know what audio components others have purchased. What we're looking for is a description of what loudspeaker products you own and why you like them. Here goes . . .
Holding his thumb and forefinger together to reveal barely a sliver of light, <A HREF="mailto:calish@ix.netcom.com">Chris English</A> said, "This close. We're this close." He wasn't talking about how far apart we were sitting, but about how close <A HREF="http://www.threshold.com/">Threshold</A> is to being back in business after an <A HREF="http://www.stereophile.com/news/10096/">attempted restructuring</A> last year did not work out.
Accidents and disasters have no sense of good timing, and when they strike have a way of fouling even the most promising love affairs. Case in point: loudspeaker manufacturer <A HREF="http://www.vonschweikert.com/">Von Schweikert Research</A> and the small town of Watertown (pop. 30,000) in northern New York, about three hours' drive from Toronto.
Last week, in <A HREF="http://www.stereophile.com//reference/101/">Book Review: <I>High Fidelity Audio/Video Systems: A Critical Guide for Owners</I></A>, we ran Corey Greenberg's scathing review of an audio book that misses the mark by a wide margin. This week, in <A HREF="http://www.stereophile.com//reference/102/">Book Review: <I>The Complete Guide to High-End Audio</I></A>, we examine a book written by erstwhile <I>Stereophile</I> consulting technical editor Robert Harley. He does not emerge unscathed!
Last week, the <A HREF="http://www.riaa.com">Recording Industry Association of America</A> released its annual demographic survey of 3051 music purchasers in the United States. "Several interesting profiles emerged in 1998, including the boom in R&B and Gospel, as well as the sharp decline in Rock sales," said Hilary Rosen, RIAA president and CEO. "Demographic shifts also continued, with women outbuying men for the second year, and a drop in purchases among 15-to-29-year-olds, contrasted by significant growth among those age 35 and older." Last month, the RIAA released its annual year-end shipments statistics, which revealed the size of the domestic sound-recording industry in 1998 to be $13.7 billion.
On a very special Saturday night in early September—late winter in Australia—I was deeply moved by hearing Brahms' Symphony 1 in the concert hall of the Sydney Opera House complex. Perhaps it was Marek Janowski's fiery, inspired conducting, but I keep recalling the hall itself. Earlier that day, I had photographed—first from my hotel room, later from a ferry—the huge, nesting sail-like roofs, covered with a million white ceramic tiles, that enclose an opera theater, concert hall, and restaurant. Twenty-five years in construction and costing over $107 million, the Sydney Opera House is described in my <I>Fodor's '98 Australia</I> guide as "the most widely recognized landmark of urban Australia." Attending the concert that night—all 2679 seats were occupied—I found the acoustics lovely, dark, and rich.
I literally dropped everything when Rega's new Planar 25 turntable arrived a few weeks ago. I'd heard the 'table compared with the Planar 3 at designer Roy Gandy's house when I visited Rega last fall—see "Analog Corner" in the January '99 <I>Stereophile</I>—and was anxious to audition it in my own system and tell you what I heard.
What fascinates me about the High End are the electric personalities behind it. Manufacturers typically invest so <I>much</I> of themselves in the products they make. It's a divine madness—they do it because they have to. They're <I>driven</I> to it with a real sense of mission and excellence. But God forbid you <I>criticize</I> any of their offspring...<I>ooo-la-la!</I>
Last week's "Soapbox" stirred up a hornet's nest of comments. Kevin Wilkinson postulated that high-resolution technical developments like DVD-Audio and SACD might spell doom for the High End. On the other hand, they could contribute to its rebirth. What do <I>you</I> think?