LATEST ADDITIONS

Subjectivist audiophiles have long maintained that long-term listening is necessary to assess the quality and character of an audio component. Scientific testing methodologies such as ABX, which require quick and conscious evaluation of a change in the sound, have long struck many of us as insufficient, seeming to miss much that affects our enjoyment of music.

Yup, it sounds weirder than hell, even if talk of hell is best tabled at Christmastime. But never mind: The New Orleans Jazz Band of Cologne’s Santa Claus is Coming to Town is the real swinging thing.

Until about a week ago, I thought Classé Audio was out of business. Imagine my surprise when I discovered that Classé was not just alive but also kicking, with a new line of high-end electronics, which were being showcased, along with flagship products from Marantz and Polk Audio, at Montreal audio-video importer Sherpa Group's offices. What's more, it was happening tomorrow–that is, the day after I found out about Classé's resurgence.

At the October 2019 Audio Engineering Society convention in New York, Yuki Fukuda and Shunsuke Ishimitsu, both of Hiroshima City University, presented results that show quite clearly that listeners can distinguish sounds encoded and reproduced at different sampling frequencies. Their trials differed from the previous ones in one important way: Instead of exposing test subjects to music at different resolutions, they used test tones.

Making digital audio sound good appears to be a much more difficult job than its developers first realized. When digital audio was in its infancy, there was a tendency to think that digital either worked perfectly, or didn't work at all. This belief led the engineering community to devise ill-considered and flawed standards that affect the musical quality of digitally reproduced music today.

Our first sample of this preamplifier was returned to the manufacturer before we had completed our tests on it, and was replaced with the latest version (ours is serial number 500108). Enough time elapsed between the time we shipped back the first sample and the time we got around to auditioning the second that we are unable to report on any sonic differences between the two.

A couple of issues back, we mentioned in passing that the Fidelity Research FR-1 Mk.3F was the only moving-coil cartridge we had heard (as of then) that we would give house room to. (The others had frequency-response problems which so colored the sound that their other strong points were not worth the tradeoff.) That first observation about the FR-1 was based on a couple of hours' listening. Now that we have had an opportunity to live with one of them for a while, we can essentially confirm that first reaction, but with a few added qualifications.