A science-fiction parable I read too many years ago to remember who wrote it used the image of a glass jar stuffed with colored plastic spheres. The story's protagonist was asked whether the glass was full. "Of course," was his reply, whereupon a hidden faucet was turned, the jar filled up with water, and fish swam in the spaces between the balls.
During the late 1950s, when high fidelity exploded into a multimillion-dollar industry, product advertisements bragged about bringing the orchestra into your living room. Apparently, no one realized what an absurd concept it was, but there are still many people today who believe that's what audio is all about. It isn't. There is no way a real orchestra could fit into the average living room, and if it could, we would not want to be around when it played. Sound levels of 115dB are just too loud for most sane people, and that's what a full orchestral <I>fortissimo</I> can produce in a small room.
<B>BEETHOVEN: <I>The String Quartets</I></B><BR> Emerson String Quartet<BR> Eugene Drucker, 1st violin, Philip Setzer, 1st violin, Lawrence Dutton, viola, David Finckel, cello.<BR> DG, 447 075-2. (7 CDs). 1997. Alison Ames and Roger Wright, exec. prods; Max Wilcox, prod.; Nelson Wong, eng. DDD. TT: 8:18:02.<BR> Music: <B>*****</B><BR> Sonics: <B>*****</B>
In last month's "As We See It," I examined how I decide upon ratings in <I>Stereophile</I>'s biannual "Recommended Components" listing. This leads me to talk about who writes our equipment reports. <I>Stereophile</I> currently has a team of 16 active reviewers. The core are professional: J. Gordon Holt, Robert Harley, Thomas J. Norton, Corey Greenberg, and Martin Colloms. The others—Sam Tellig, Jack English, Robert Deutsch, Don Scott, Jonathan Scull, Larry Greenhill, Dick Olsher, Guy Lemcoe, Lewis Lipnick, and Steven Stone—may be enthusiastic amateurs, but they are amateurs only in the sense that they don't earn their livings from writing. I'm the team's catcher, both calling the game and keeping the stray balls from getting away. Why, then, is it this cast of characters (footnote 1) who gets to cast judgments in stone in my magazine?
"Wow! What's that</I>?" asked the pizza delivery boy, peering over my shoulder at the slender, 5'-tall Martin-Logan SL3 visible behind me.
<I>"Everyone I know used to sit in front of the stereo and listen to music...Now no one I know, except for us lunatics, listens to music the way one would watch a movie on TV."</I>—from The Audiophile Network
<B>SON VOLT: <I>Straightaway</I></B><BR> Warner Bros. 46518-2 (CD). 1997. Brian Paulson, Son Volt, prods. TT: 40:27<BR> Music: <B>*****</B><BR> Sonics: <B>*****</B>
Everyone's going crazy for single-ended power amplifiers. What's the big deal? What is it about these relatively low-powered contraptions that could make everybody so nutso? And has Pass Labs' Nelson Pass completely lost his marbles, selling a 30Wpc amplifier for a price that can buy a high-quality 200Wpc amp? Isn't that 200W amp seven times as loud—and seven times as <I>good</I>—as a 30W amp?
One of the fundamental tenets of high-end audio is that a loudspeaker's bass output should be appropriate for the listening room's size. The smaller the room, the less bass the loudspeakers should produce. Any manufacturer of large loudspeakers who has set up such a system in a CES hotel room can attest to how difficult it is to avoid boominess in a tiny space.
One of the fundamental tenets of high-end audio is that a loudspeaker's bass output should be appropriate for the listening room's size. The smaller the room, the less bass the loudspeakers should produce. Any manufacturer of large loudspeakers who has set up such a system in a CES hotel room can attest to how difficult it is to avoid boominess in a tiny space.