<A HREF="http://www.mcintoshlabs.com/">McIntosh Laboratory</A> unveiled for the press three new products that they will be showing at CEDIA next month. They are the MX135 A/V Control Center (already shipping), the MVP861 Universal Player, and the MC207 7-channel Power Amplifier, all with McIntosh's signature design and cosmetics.
With the advent of home theater and Internet audio, doomsayers claim that high-end audio's days are numbered. But new high-end audio companies seem to appear at a rapid clip, and vinyl continues to thrive. So is high-end audio gasping for breath or breathing easy?
Many observers claim that high-end audio is an older person's passion, and that the youth of today are too enamored with third-rate MP3 sound and convenience. How can young listeners be brought into the high-end audio fold?
Until recently, all problems in digital audio systems were blamed on either the analog/digital converters (ADCs) used in mastering or the digital/analog converters (DACs) needed for playback (footnote 1). As the performance of both ADCs and DACs improved, however, a previously unrecognized mechanism for distortion was unmasked: jitter. As we shall see, jitter—or, more correctly, word-clock jitter—can be a significant limitation in the technical and sonic performance of digital audio systems (footnote 2).
Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players—and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the <A HREF="http://www.stereophile.com/digitalsourcereviews/259">dCS Elgar</A> DAC, near and dear to John Atkinson's heart and a perennial Class A selection in <I>Stereophile</I>'s "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.
Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players—and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the <A HREF="http://www.stereophile.com/digitalsourcereviews/259">dCS Elgar</A> DAC, near and dear to John Atkinson's heart and a perennial Class A selection in <I>Stereophile</I>'s "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.
After two decades of motorcycling, I recently achieved a long-held goal by buying a bike built by Bimota, a tiny Italian manufacturer. Although Bimota engages in a wide range of activities, from two-stroke engine design to racing, they're best known for their exotic, hand-built street bikes. They always include the very best components and feature cutting-edge engineering and performance, but what they're truly revered for is their style. Bimotas unfailingly combine shapes, textures, and finishes into motorcycles that are most often referred to as "works of art."
A move by RealNetworks to cut the umbilical cord between Apple's iPod and the company's iTunes Music Store has raised the ire of some execs in Cupertino. The computer pioneer is threatening legal and technical retaliation against its Seattle rival in the wake of a late July launch of a digital music technology called Harmony that enables the iPod to work with downloads from RealNetworks' music store.
From its origins as an obscure off-Broadway novelty act, <A HREF="http://www.blueman.com">Blue Man Group</A> has grown to monster proportions, with authorized spinoffs performing in major cities throughout the world. The group is a permanent attraction in Las Vegas.
The advent of ubiquitous online digital audio file availability, not to mention a growing number of ways to effectively use a computer to organize and store a media library, has prompted futurists to begin declaring this the eve of the "digital den" era.