In the October 1994 <I>Stereophile</I> (Vol.17 No.10, p.39), I discussed my experiences with the DTS audio data-reduction code/decode switch box, which, briefly, is a two-channel box that makes use of the algorithm DTS has proposed for their version of discrete multichannel sound for laserdiscs.
<B>J.S. BACH: Secular Cantatas</B><BR> "Coffee Cantata," BWV 211; "Peasant Cantata," BWV 212; <I>Durchlauchtster Leopold</I>, BWV 173a<BR> Dorothea Röschmann, soprano; Hugues Saint-Gelais, tenor; Kevin McMillan, baritone; Les Violons du Roy, Bernard Labadie<BR> Dorian DOR-90199 (CD only). Craig D. Dory, eng.; Brian C. Peters, eng., prod. DDD. TT: 73:13
Back in the spring of 1990, <I>Stereophile</I> introduced its first <A HREF="http://www.stereophile.com//reference/176/">Test CD</A>, featuring a mixture of test signals and musical tracks recorded by the magazine's editors and writers. Even as we were working on that first disc, however, we had plans to produce a second disc which would expand on the usefulness of the first and feature a more varied selection of music. The result was our <A HREF="http://www.stereophile.com//features/338/">Test CD 2</A>, released in May 1992.
Back in the summer of 1968, I bought a secondhand pre-CBS Fender Precision Bass guitar for the grand sum of £35 (then about $75) (footnote 1). It was so cheap because the previous owner had pretty much scratched the sunburst finish to ribbons. The P-Bass may have looked like roadkill but it played like a dream, so I decided to refinish its body. Paint stripper removed the remains of the original nitrocelloluse lacquer, leaving me with a white wood body—ash, I understand—which I carefully sanded and stained. Contrary to what you might expect, the finish of an electric guitar does have an effect on the sound, so I thought long and hard about how I was going to varnish the body. I ended up applying thinned gloss-finish polyurethane, which I then sanded, repeating this process some five or six times, using finer and finer sandpaper, until the application of a final coat of varnish gave as close to a mirror-smooth finish as I could get...which wasn't anything near as perfect as the piano-lacquer rosewood finish on the samples of the Monitor Audio Studio 6 loudspeaker that Monitor Audio USA sent for review!
I am puzzled. No, really. I know you find it hard to believe that we sacerdotes of the golden-eared persuasion could ever be perplexed, but I have been pondering the imponderables of ports. Ever since the classic work of Richard Small and Neville Thiele in the early '70s showed how the low-frequency response of any box loudspeaker can be modeled as an electrical high-pass filter of some kind, with the relevant equations and data made available to all, there would seem to be very little reason why all loudspeakers with the same extension should not sound alike (or at least very similar) below 100Hz. Yet after reviewing 20 dynamic loudspeakers (and using 24) in the same room over the last seven months, I am led to the conclusion that speakers vary as much in the quality of their mid-to-upper bass as they do in any other region. A few are dry, more are exaggerated in this region; some are detailed and "fast," most are blurred, with the upper bass "slow" (by which I mean that the weight of bass tone seems to lag behind the leading edges of the sound).
<B>TIGER OKOSHI: <I>Two Sides to Every Story</I></B><BR> Tiger Okoshi, trumpet; Mike Stern, electric guitar; Gil Goldstein, acoustic piano; Dave Holland, acoustic bass; Jack DeJohnette, drums<BR> JVC JVC-2039-2 (CD only). Jim Anderson, eng.; Akira Taguchi, prod. DDD? TT: 65:20
"Never explain, never apologize." But in this month's "As We See It," I intend to do both. First, the apology:
"I've got a great idea, RL," said John Atkinson to me one fine fall morning five years ago, as we relaxed over cappuccino and croissants in the slowly rotating editorial suite of the imposing Stereophile Tower that---surmounted by a heroic statue of J. Gordon Holt, thumb down, lip curled, great bronze cigarette glowing triode-red---rises like a Tube Trap of the Gods to dominate the downtown skyline of our round brown town of La Villa Real de la Santa Fe de San Francisco de Asis. In a paroxysm of the editorial euphoria that comes upon him when he suddenly envisions page after page of <I>Stereophile</I> copy which he himself does <I>not</I> have to write, JA then outlined for me the annual list of the Greatest Performances recorded in the Greatest Stereo Sound that has since become the "Records To Die For" we all love and hate---one of <I>Stereophile</I>'s most entertaining, annoying, and downright <I>fun</I> features. </I>
Tonearms, like Rodney Dangerfield, never get no respect. When was the last time you heard someone actually argue the merits of a tonearm? Right, not recently. "Hey, I just got that new Gizmo tonearm!" "Oh yeah? What cartridge are you using?" People pick out the cartridge for praise and consideration time after time, while the tonearm gets taken for granted.