LATEST ADDITIONS

Let's say you want a reliable means of distinguishing between original works of art and forgeries of same. One thing you wouldn't do—assuming you know anything about art, human perception, or the subtle differences between car wax and excrement—is apply to the problem a blind test: You wouldn't waste your time bringing people in off the streets, showing them pairs of similar but nonidentical images for 15 seconds each, and expecting your test participants to provide answers of any worth. You wouldn't do that because it's stupid.

I'm drawn to the idea of having a single transducer reproduce all the frequencies, but I appreciate the difficulties of this approach. Generally, the larger the driver, the better it is at reproducing low frequencies, and the worse at reproducing the highs. Thus, I was intrigued when I walked into the demo room of R2R Audio, a new Canadian manufacturer, which featured a single-driver system, with the driver having a 15" diameter, used in a dipole configuration. Can a driver like that reproduce anything other than the bass?

Editor's Note: On the 52nd anniversary of Stereophile's founding in 1962 by J. Gordon Holt, we are publishing this mea culpa "As We See it" essay from 1981, in which he explains why Vol.4 No.10 was almost six months late in mailing to subscribers. Gordon had relocated from the Philadephia suburbs to Santa Fe, New Mexico in 1978, and as he had explained in the April 1978 issue, the move had not gone well. "Much of the equipment necessary for testing got damaged or destroyed in transit," he wrote, adding that "What had promised to be a superb listening room turned out to have some sticky acoustical idiosyncrasies."

Virginia retailer Command Performance A/V—115 Park Ave. Suite #2, Falls Church—is having a Grand Opening on Saturday November 8 from 11am to 5pm. The day will feature Constellation Audio's new Inspiration Series (above), presented by Irv Gross, Director of Sales for Constellation Audio.

The Sheraton Center Hotel, venue of the 2014 Toronto Audio Video Entertainment Show (TAVES), represents a marked change from the genteel elegance of the King Edward Hotel, the TAVES venue for the past two years. Built in 1972 in a modern style, the Sheraton offers a lot more space—it also sports one of the most confusing show layouts that I've encountered. There are long corridors leading who-knows-where, and stairs going up and down that may or may not lead to exhibit areas.

Do you travel? Commute, perhaps? Just like to listen to music privately around the house? No matter—the Astell&Kern AK240 is the luxury choice in high-resolution portable music players (footnote 1). It even comes with a lovely leather case that beautifully cradles its angular beauty. The AK240 can play all of your PCM files, up to a resolution of 24-bit/192kHz, as well as DXD and single- and double-rate DSD, natively, and can do so from its internal storage, from a microSD card, or from your computer via WiFi or a wired connection. It can also function as a DAC or USB-to-TosLink converter. I'm not so sure there's much left wanting.

Classical and jazz notwithstanding, an awful lot of new music is highly compressed, processed, and harsh, and it's about time we got used to it. Musicians, producers, and engineers are, in large part, on board with the sound, and any suggestion of making less-compressed recordings, with a wider dynamic range, is met with confused stares, or worse. One superstar producer didn't take kindly to my suggestion that he make two mixes for his new project: the standard compressed one, and another, less-crushed version. That didn't fly; he said there could be only one, the mix approved by him and the band, and that to them, a less-compressed mix wouldn't sound better. This producer is an audiophile, but he's not the least bit interested in making music for audiophiles. Harshness, it seems, isn't just a byproduct of compression; it's an integral part of the sound of today's music.