Reference

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John Atkinson  |  Nov 13, 2005  |  First Published: May 13, 1990  |  0 comments
"The large peak at 16kHz reported by Stereophile...was nowhere in evidence...The most probable explanation of this discrepancy is that the [Waveform supertweeter's] very light ribbon depends on the air load for damping, and that load is much smaller in the thin air up there at 7000' in Santa Fe than at altitudes where less lightheaded and scientifically more accountable reviewers dwell." Thus spake Peter Aczel (footnote 1), erstwhile loudspeaker designer and Editor/Publisher of the reincarnated The Audio Critic, a publication that advertises itself as having "unusual credibility among the top professionals in audio."
Laurence A. Borden  |  Sep 25, 2005  |  0 comments
The introduction in 1982 of the compact disc ushered in the age of digital audio. Audiophiles now have lots of new digital toys and technologies at their disposal, including SACD, DVD-Audio, MP3 players, hard-drive–based CD players, and digital equalization and room correction, to name a few. Videophiles have similarly benefited from digital technology, with an armamentarium that includes high-definition television, DVD-Video, Blu-ray, HD DVD (the latter two still on the horizon), DLP, LCoS, and D-ILA, among others. Action-based films have also benefited from breathtaking, digitally enhanced special effects. Even those of us who still prefer LPs must acknowledge—reluctantly, perhaps—the incredible impact that digital has had on our hobby (footnote 1).
Malcolm Omar Hawksford  |  Aug 28, 2005  |  First Published: Oct 01, 1995  |  0 comments
Editor's Note: The matter of whether—and if so, how—speaker cables and interconnects can affect the sound of an audio system has vexed the audiophile community since Jean Hiraga, Robert Fulton, and others first made us aware of the subject in the mid-1970s. Most of the arguments since then have involved a great deal of heat but not much light. Back in August 1985, Professor Malcolm Omar Hawksford Ph.D (of the UK's University of Essex and a Fellow of the Audio Engineering Society) wrote an article for the British magazine Hi-Fi News & Record Review, of which I was then Editor, in which he examined AC signal transmission from first principles. Among his conclusions was the indication that there is an optimal conductor diameter for audio-signal transmission, something that I imagined might lead to something of a conciliation between the two sides in the debate. Or at least when a skeptic proclaimed that "The Laws of Physics" don't allow for cables to affect audio performance, it could be gently pointed out to him or her that "The Laws of Physics" predict exactly the opposite.
Keith Howard  |  Jul 31, 2005  |  First Published: Jul 01, 2005  |  0 comments
If there is one thing I've learned in almost 28 years (ouch) of audio writing, it's that audience reaction is fickle. Sometimes readers will swallow the most contentious pronouncements without indigestion, only to choke on throwaway lines you've invested with little importance. It just goes to confirm that human communication involves senders and receivers, and they aren't always in synchrony.
Keith Howard  |  May 01, 2005  |  First Published: Apr 01, 2005  |  0 comments
If you missed Part 1 of this article (Stereophile, January 2005), or it has faded in your memory, here's a résumé. (Readers who recall Part 1 with crystalline clarity, please skip to paragraph four.) The accurate measuring of loudspeakers requires that the measurements be taken in a reflection-free environment. Traditionally, this has meant that the speaker be placed atop a tall pole outdoors or in an anechoic chamber. Both of these options are hedged around with unwelcome implications of cost and practicality. To overcome these and allow quasi-anechoic measurements to be performed in normal, reverberant rooms, time-windowed measurement methods were developed that allow the user to analyze only that portion of the speaker's impulse response that arrives at the microphone ahead of the first room reflection. MLSSA from DRA Labs is the best-known measurement system to work on this principle, and both John Atkinson and I use it in the course of preparing our loudspeaker reviews.
Keith Howard  |  Jan 30, 2005  |  0 comments
Pick an expletive—one you would normally use to express deep intellectual frustration—but don't vocalize it. Hold it in reserve for a few minutes, letting it simmer to concentrate its intensity. I'll tell you when to let rip.
Keith Howard  |  Nov 21, 2004  |  0 comments
In the world of digital audio, jitter has been a focus of audiophile attention for well over a decade. It is blamed for many of the sonic ills of which CD and other digital media have been accused. But here's a puzzle: The major source of frequency intermodulation distortion in audio systems—the loudspeaker—has largely escaped such withering inquiry. Why?
Peter W. Mitchell  |  Aug 29, 2004  |  First Published: Sep 01, 1992  |  0 comments
Someday we may speak wistfully to our grandchildren about the "golden age" of digital audio when consumer formats (CD and DAT) contained a bitstream that was an exact bit-for-bit duplicate of the original studio master recording—not a digitally compressed, filtered, copy-resistant version whose sound is "close enough" to the original. Digitally compressed formats such as DCC and MiniDisc represent, in effect, a return to the pre-CD era when consumer-release formats were always understood to be imperfect copies of the studio original. Even the most ardent audiophile accepted the fact that LPs and mass-produced tapes did not, and could not, sound as good as the master tapes they were derived from.
Malcolm Omar Hawksford, Chris Dunn  |  Aug 27, 2004  |  First Published: Mar 01, 1996  |  0 comments
High-quality digital audio systems require that all digital interfaces in the signal path exhibit signal transparency. The widely adopted AES/EBU and S/PDIF interfaces have been criticized for a lack of signal transparency; here we (footnote 1) address possible problems with such interfaces and present methods for improving the interface standard.
Rémy Fourré  |  Aug 08, 2004  |  First Published: Oct 01, 1993  |  0 comments
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).
Keith Howard  |  Jul 25, 2004  |  First Published: Jul 01, 2004  |  0 comments
If anyone ever thinks to compile a list of the 100 seminal audio papers that should be found in every tech-aware audiophile's filing cabinet, Harry Olson's "Direct Radiator Loudspeaker Enclosures" deserves to feature in it. Originally presented at the second Audio Engineering Society Convention, in October 1950, it was published in Audio Engineering in 1951. In 1969—in a rare and certain acknowledgement of its classic status—the AES republished it in its Journal (footnote 1).
Robert Harley  |  Jul 04, 2004  |  First Published: Jan 01, 1992  |  0 comments
"How sour sweet music is
When time is broke and no proportion kept!"
Robert Harley  |  May 30, 2004  |  First Published: Feb 01, 1992  |  0 comments
At the February 1991 Audio Engineering Society Convention in Paris, Audio Precision's Dr. Richard Cabot (see my interview in January 1991, Vol.14 No.1) proposed a new technique for measuring noise modulation in D/A converters (footnote 1). The method, based on psychoacoustic principles, attempts to predict the audible performance of D/A converters. Now that Stereophile has added digital-domain signal generation and analysis to our Audio Precision System One, we can employ Dr. Cabot's technique and see if there are any correlations with subjective performance.
Robert Harley  |  May 09, 2004  |  First Published: May 01, 1990  |  3 comments
The promise of "perfect sound forever," successfully foisted on an unwitting public by the Compact Disc's promoters, at first seemed to put an end to the audiophile's inexorable need to tweak a playback system's front end at the point of information retrieval. Several factors contributed to the demise of tweaking during the period when CD players began replacing turntables as the primary front-end signal source. First, the binary nature (ones and zeros) of digital audio would apparently preclude variations in playback sound quality due to imperfections in the recording medium. Second, if CD's sound was indeed "perfect," how could digital tweaking improve on perfection? Finally, CD players and discs presented an enigma to audiophiles accustomed to the more easily understood concept of a stylus wiggling in a phonograph groove. These conditions created a climate in which it was assumed that nothing in the optical and mechanical systems of a CD player could affect digital playback's musicality.
Keith Howard  |  May 02, 2004  |  First Published: Apr 01, 2004  |  0 comments
Looked at from one viewpoint, DVD-Audio and SACD appear to be exercises in sheer profligacy. In the case of DVD-A, why provide a maximum bandwidth almost five times what is conventionally taken to be the audible frequency range, and couple it to a dynamic-range capability far in excess of that achievable by the microphones used to record the sound? In the case of SACD, why provide a potential bandwidth in excess of 1.4MHz, only to fill more than 95% of it with quantization noise?

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