The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?

The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?

The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?

The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?

The whole idea that different CD transports have different sonic characteristics when driving the same digital-to-analog converter is a vexing problem. It is easy to prove that even the cheapest CD players recover the data stored on most CDs with bit-for-bit accuracy, thus disproving the widespread and erroneous belief that errors in the digital code are commonplace and affect presentation aspects such as imaging, soundstage depth, textural liquidity, etc (footnote 1). If the datastream driving the digital converter is comprised of the same sequence of ones and zeros, regardless of the transport, what other factors could account for the sonic differences between CD drives reported by many listeners?

The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late <A HREF="http://www.stereophile.com/floorloudspeakers/378snell/index4.html">Peter Snell</A>'s original three-way floorstanding design, and is the most radical departure from <A HREF="http://www.stereophile.com/floorloudspeakers/378snell">Snell's original</A>. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.

The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late <A HREF="http://www.stereophile.com/floorloudspeakers/378snell/index4.html">Peter Snell</A>'s original three-way floorstanding design, and is the most radical departure from <A HREF="http://www.stereophile.com/floorloudspeakers/378snell">Snell's original</A>. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.

The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late <A HREF="http://www.stereophile.com/floorloudspeakers/378snell/index4.html">Peter Snell</A>'s original three-way floorstanding design, and is the most radical departure from <A HREF="http://www.stereophile.com/floorloudspeakers/378snell">Snell's original</A>. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.

The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late <A HREF="http://www.stereophile.com/floorloudspeakers/378snell/index4.html">Peter Snell</A>'s original three-way floorstanding design, and is the most radical departure from <A HREF="http://www.stereophile.com/floorloudspeakers/378snell">Snell's original</A>. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.

The Type A has served as Snell Acoustics' flagship loudspeaker since 1974. The Type A Reference System reviewed here is the sixth update of the late <A HREF="http://www.stereophile.com/floorloudspeakers/378snell/index4.html">Peter Snell</A>'s original three-way floorstanding design, and is the most radical departure from <A HREF="http://www.stereophile.com/floorloudspeakers/378snell">Snell's original</A>. Gone is the pair of "upright bricks of polished wood and stretched cloth" (footnote 1) that delighted decorators because they functioned best against a wall. Today's Type A Reference $18,999 price tag (footnote 2) purchases two tall midrange-tweeter towers, two huge subwoofers, two short but heavy enclosures housing the outboard passive crossover networks, and a small electronic crossover.