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The components I needed to choose for my first system were never in doubt: a turntable or record changer, an integrated amplifier, and a speaker. One of each, please, in those mono days.

Today, even in stereo, that trinity would be regarded as rather traditional—or, if you prefer, purist. Digital has exploded the range of source options and loudspeaker options. Yet amplifiers have not changed much in how and what they do.

The idea of using digital signal processing (DSP) to convert digital audio data sampled at 44.1kHz or 48kHz to a higher sample rate is not new. I first heard the beneficial effects of upsampling at Stereophile's 1998 hi-fi show in Los Angeles, where a pro-audio dCS 972 digital-to-digital processor was being used to convert 16-bit/44.1kHz CD data to a 24/192 datastream.

January's Industry Update included a report on a scientific article presented at last year's AES meeting, in which the authors used test tones and a modest audio system (albeit in an anechoic chamber) to prove that listeners can discriminate between high-rez and CD-rez audio. This is important because scientific evidence of an audible difference between high-rez and CD-rez music is considered weak by some, even as anecdotal evidence grows stronger by the day.

As I pondered this, I recalled a recent paper I'd seen in the Journal of the Audio Engineering Society but hadn't yet read. "High Resolution Audio: A History and Perspective," which the AES has made available free online, does precisely what the title says: reviews the history of digital audio beyond CD-rez and frames the issue of high-rez audio's audible superiority on the basis of the available evidence.

In the 1980s, the CD nearly pushed the LP to extinction. Nearly. For all the claims of "Perfect Sound Forever," the main thing offered by the CD was convenience.

Then, in the mid-1990s, the MP3 and the Internet made it easy to extract and distribute the information encoded on a CD. Secret websites raced to be the first to distribute free MP3s of new recordings, sometimes even before they were released. This went on for years, undermining record-company profits, before Napster came along and gave the record industry a high-value lawsuit target: no more suing widows and small children.

The Who: Who
Interscope B0031280-02 (CD). 2019. Pete Townshend, Dave Sardy, Bob Pridden, Dave Eringa, prods.; Dave Sardy, James Monti, others, engs.
Performance ****
Sonics ****

What motivates an artist to make great statements?

Whatever it is, it's certainly a shock to see a rock-era songwriter rediscover his muse after some 40 years treading water. So it is that Pete Townshend re-emerges at the end of 2019 with his most powerful collection of songs since Empty Glass and the best Who album since Quadrophenia.

Thursday, February 20, 7:00–10:00pm: Garth Leerer and Ken Bowers from Musical Surroundings, importers of AMG turntables and Hana phono cartridges, will be at Ultra Fidelis HiFi, 7125 W. North Avenue, Wauwatosa, Wisconsin, demonstrating the new AMG Viella Forte turntable.

This marks the end of our Florida Audio Expo 2020 coverage, but before I wrap things up, I'd like to mention a few more standout rooms with super systems.