LATEST ADDITIONS

Ray Kimber founded his enterprise in the late 1970s, and for the last half-century has withstood the ravages of this difficult market. He first got involved in cable technology while addressing the problems of induced interference in audio connections where high-power installation lighting was involved, especially early thyristor-controlled systems.

By my estimation, this year's High End hi-fi show—the last in Munich before the world's largest audio show moves to Vienna—was a major success, perhaps the first I've attended since the pandemic that managed to completely escape that shadow. Every day but Sunday it was very busy—sometimes too busy; on the busiest days, the hallways at the MOC convention center reminded me of NYC's Fifth Avenue on Black Friday, an experience I've had once and hope to never have again. Most important: I heard a lot of really good sound.

Why should we worry about the conservation and preservation of old analog master tapes when they've long ago been transferred to digital? It's a reasonable question—especially since AI-powered digital signal processing is on the horizon, promising perfect repair of bad-sounding digital audio files. Musicians and many audiophiles are skeptical that DSP could ever perform authentic correction on natively analog domain-transferred music files, the way (eg) Plangent Processes can. A forceful argument for better preservation of the surviving tapes is that when they're gone, we'll have lost not only the absolute (if also decaying) reference but also vital information that can be essential to applying authentic corrective processes.