Krell "Trade Up" Deal
Would a piece of Krell electronics be the crowning jewel on your equipment rack?
Would a piece of Krell electronics be the crowning jewel on your equipment rack?
Most audiophiles are generally loathe to think that they'd run their main audio systems from a computer. Last time <A HREF="http://cgi.stereophile.com/cgi-bin/showvote.cgi?346">we ran a poll</A>, answers such as this one from David L. Wyatt, Jr. were typical: "Why in the world would I hook my computers to my stereo? If I want to make a compilation CD of the music I have purchased, I'll just burn one."
We begin with a January 1993 article from Robert Harley called <A HREF="http://www.stereophile.com/reference/193jitter">The Jitter Game</A>. RH explains, "Clock jitter is a serious and underestimated source of sonic degradation in digital audio. Only recently has jitter begun to get the attention it deserves, both by high-end designers and audio academics."
Reader Dennis de Chiara notes that high-end audio is a relatively small community with many approachable personalities. So he wonders if any readers have actually met the designers or manufacturers of the equipment they own?
When I first started buying records at the end of the 1950s, I had this vision of the typical recording engineer: A sound wizard wearing a white lab coat rather than a cloak festooned with Zodiacal symbols. He (it was always a "he," of course) would spare no effort, no expense to create a disc (LPs and 45s were all we had) that offered the highest possible sound quality. At that time I also believed that Elvis going into the Army meant the end of rock'n'roll, that my teachers knew everything, that politicians were honest, that socialism was the best form of government, and that talent and hard work were all you needed to be a success. Those ideas crashed and burned as I grew up, of course, but other than the long-discarded white coats, each new record I bought strengthened rather than weakened my image of the recording engineer.
"Desperation is the Mother of Invention." Isn't that how the proverb goes? Certainly it applied ten years ago in the case of the Philips engineers working on the development of the Compact Disc system. Given a specification that had included a 14-bit data word length, they had duly developed a 14-bit DAC chip, the TDA1540, only then to be informed that the CD standard decided upon after Sony joined forces with the Dutch company would involve 16-bit data words. (Thank goodness!)
<I>Everybody, including myself, was astonished to find that it was impossible to distinguish between my own voice, and Mr. Edison's re-creation of it.</I>—Anna Case, Metropolitan Opera Soprano, 1915
<I>"How sour sweet music is<BR>When time is broke and no proportion kept!"</I>
Audio retail revival: Electronics retailers throughout the US are ramping up their commitment to audio separates, according to a June 21 report by Joseph Palenchar in <I>TWICE</I> (This Week in Consumer Electronics). Palenchar describes the new emphasis on audio components as a response to declining margins on "home theater in a box" (HtiB) systems. Through April of this year, factory-to-dealer audio component sales rose 29.8% to $344.6 million, with April sales up 41.9%, hitting a four-year high of $86.9 million.
Will surround sound rejuvenate the music industry? That's the position many record label execs took when adding the capability to DVD-Audio and SACD years ago. But while they wait for the high-rez formats to catch on, <A HREF="http://www.srslabs.com">SRS Labs</A> has decided to add multichannel audio to the conventional compact disc.