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Records To Die For
1992 Records To Die For
Stereophile Staff  |  Feb 03, 1994  |  First Published: Feb 03, 1992
Letters? Boy, did we get letters last year when we ran the very first "Records to Die For": subscription renewals, subscription cancellations, groveling gratitude, death threats, paeans, pans, madness, ecstasy, invitations to any number of sanity hearings (we sent our regrets)---and that was just from our own staff. How could we not do it again?
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Features
The Shun Mook Affair
Jonathan Scull, Sam Tellig, Barry Willis  |  Feb 03, 1994
Editor's note: When Jonathan Scull reviewed the Shun Mook devices back in 1994, he unleashed a hailstorm of controversy that continues to this day. Below is his original report along with some of the follow-up articles and fallout.
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Reference
Why a Preamp?
Thomas J. Norton  |  Jan 07, 1994
That was the question asked by a reader who was perfectly happy with his CD-based system. He was using the gain control provided by the variable output of his CD player and was apparently in no need of phono playback or greater flexibility. He asked us to answer this question, ignoring for the moment the obvious functions of switching, volume and tone control, and phono preamplification. With those hardly trivial qualifiers—and bearing in mind the high output available from many of today's line sources, CD players in particular—do you really need the added expense and complexity of a preamplifier?
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As We See It
"I have heard the future of audio...and it is digital."
John Atkinson  |  Jan 07, 1994
Two recent listening experiences of mine echoed the overblown praise Jon Landau lavished upon Bruce Springsteen after he heard The Wild, the Innocent & the E-Street Shuffle. But all hype aside, Landau was right: Springsteen was the future of rock'n'roll—or at least what passed for the future of traditional rock in those pre-MTV, pre-techno, pre-house, pre-gangsta, pre-rap, pre-hip-hop, pre-grunge, pre-Mariah Carey, pre-Garth Brooks, pre-sampling, pre-digital days. And I believe that, Landau-like, I too will be right. I have heard the future of audio, and it is digital—digital technology has finally surpassed the sound quality of analog.
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Reference
Questions of Impedance Interaction
Thomas J. Norton  |  Jan 06, 1994
On a number of occasions we have commented on the effects of an amplifier's output impedance on a system's performance. A high output impedance—such as is found in many tube amplifiers—will interact with the loudspeaker's impedance in a way which directly affects the combination's frequency response. The Cary CAD-805, for example, has a lower output impedance than most tube amplifiers, and should be less prone to such interaction. Some months back—before the CAD-805 arrived—I investigated this phenomenon in conjunction with measurements for a forthcoming review of the Melos 400 monoblock amplifier. Since the Melos 400 also had a relatively low output impedance for a tube amplifier (at 0.43 ohms at low and mid frequencies, rising to 1.2 ohms at 20kHz, from its 8 ohm tap), I took that opportunity to run some frequency-response measurements using an actual loudspeaker as the load for the amplifier.
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Historical
A New Size For Stereophile
Larry Archibald  |  Jan 05, 1994
By now you've no doubt realized that Stereophile has changed its size—from 5½" by 8 7/16" to 7½" by 10¼". (All right—maybe you didn't know the exact dimensions of the change, but that's what they are.) We have Edward Chen, Publisher of Stereophile's Chinese edition, to thank for our new size. It is the same size as the Chinese Stereophile and a common size in the Far East. We've been admiring it in Chinese for the last two-and-a-half years, and we thought it would make sense in English as well.
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Recording of the Month
Recording of December 1993: On Yoolis Night
Les Berkley  |  Dec 28, 1993
ANONYMOUS 4: On Yoolis Night
Medieval Christmas Carols and Motets
Anonymous 4
Harmonia Mundi 907099 (CD only). Robina G. Young, prod.; Brad Michel, eng. ADD? TT: 68:03
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As We See ItHistorical
Anniversaries
Larry Archibald  |  Nov 30, 1993
By the time you read this, I will have been fortunate enough to have attended a banquet put on by Harry Pearson in celebration of The Abso!ute Sound's 20th anniversary. Stereophile and TAS may have had their disagreements from time to time, but I take this opportunity to congratulate Harry and his staff on 20 years of excellent high-end publishing. I believe it's not excessively immodest to report that high-end manufacturers frequently remind me of their gratitude for the healthy and vibrant high-end publishing community which exists in the United States—and does not in most other countries. Many publications make up this community, but Stereophile and TAS are certainly the most widely read.
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Recording of the Month
Recording of November 1993: Music for Violin & Guitar
Robert Hesson  |  Nov 05, 1993
ARTURO DELMONI: Music for Violin & Guitar
Handel: Sonata in E. Giuliani: Sonata in A, Op.85. Leisner: Sonata for Violin & Guitar. Kreisler: Andantino. Granados-Kreisler: Spanish Dance. Ravel: Pièce en forme de Habanera. Paganini: Cantabile. Chaminade-Kreisler: Serenade Espagnole.
Arturo Delmoni, violin; David Burgess, guitar
Athena Productions ACSC-10006 (CD only). Bob Katz, eng.; Arturo Delmoni, prod. DDD. TT: 62:04
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ReferenceFeatures
A Transport of Delight: CD Transport Jitter
Robert Harley  |  Nov 01, 1993
Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.
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