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Stereophile's Writers on an Audio Quest Page 4

Holt: Huh?

Sommerwerck: If you listen to one speaker which is low impedance and you listen to another speaker which is high impedance, and they sound different with a speaker cable, you tell the readers that. That's a fact. But you don't draw the conclusion that it necessarily sounds different with different speaker impedances because you don't have enough of a database to draw that conclusion.

Olsher: You mean that I cannot offer any conjecture? What's wrong with conjecture?

Sommerwerck: Because you don't want to be making generalities that you don't have evidence for…

Stereophile's Writers on an Audio Quest Page 5

Sommerwerck: Let me just say something on this business: anecdotal listening is unscientific. There's no question about it. [hubbub]

Olsher: I disagree with that.

Sommerwerck: Now, bear with me a moment...

Atkinson: No, you can't get away with saying that...

Olsher: Bill, you can't say that...

Thomas J. Norton: Not here...

Sommerwerck: The point is that you want it both ways, because you said just a few minutes ago it wasn't science. Look, the point that I'm getting at is that every time I sit down to listen, I am aware that I know what component I…

Stereophile's Writers on an Audio Quest Page 6

Mitchell: But if it's getting consistently better than it was and getting good at lower price levels, then by definition we're making progress.

Holt: It's called advancing the state of the art.

Mitchell: And that happens only by establishing certain knowledge, not by just exchanging opinions. Especially when those opinions are contradictory. If Stereophile says a product is great and The Abso!ute Sound says that the same product is trash, or vice versa, then we've really not gotten anywhere at all. But if we can establish why products interact the way they do, then we can make…

The Fifth Element #9

I don't know who originated the idea of "desert island" recordings. I do know that for many years there was a BBC radio program in the UK that asked celebrities to list their choices. While reading quite a few of those lists, I had the sneaking suspicion that the respondents either hadn't entered fully into the spirit of the task, or were tailoring their choices with a view to what the radio or reading audience would think. (Interior monologue: "I am an anorak-wearing viola da gamba player. Hmmm. Birth of the Cool had better be on my list. London Calling, too, just to be safe.")

If you…

The Fifth Element #9 Page 2

I would not want to be without Morten Lauridsen's heartfelt Lux Aeterna or its template, Brahms' Ein deutsches Requiem. There is only one recording of Mortenson's masterwork; of the many great Brahms Requiem recordings I'd want Robert Shaw's and Sergiu Celibidache's. Richard Strauss's Four Last Songs in the incomparable Lucia Popp/Klaus Tennstedt version offer a ray of hope. The otherworldly confidence of Dante's sacred cosmology pervades Elgar's Dream of Gerontius; I'd want every available recording and several that are not available, the better to make an in-depth study.

For Beethoven'…

The Fifth Element #9 Page 3

Although I hesitate to recommend a book that is out of print, John Culshaw's Ring Resounding is worth tracking down or borrowing from the library. Culshaw produced the first complete studio recording of Wagner's Ring cycle, originally released on LPs. His unique memoir is a fascinating behind-the-scenes view of the early days of the synergy between LP recording and classical-music performance as international big business. [The Golden Ring, the Humphrey Burton-directed TV documentary on the making of the Culshaw-produced Ring, was released on DVD in mid-2002.—Ed.] Culshaw's life was…

NAD 118 digital preamplifier

Tone controls? I ripped them out of my Dyna PAS-3! And that was the last time I had tone controls. As a card-carrying audiophile, I wanted just what the engineer had inscribed on the recording, with as little change as possible (read: high fidelity).

But such purism has left me unarmed against boomy or screechy recordings of wonderful music. The only choices have been to endure or abjure such recordings because analog frequency shapers (tone controls, equalizers, filters, etc.) add phase-shifts, noise, and distortion. At the same time, mid-fi and home-theater systems (and recording…

NAD 118 digital preamplifier Page 2

In addition to its operation as a complete line-level preamp/control center, the NAD 118 has the following unusual features:

1) Digital signal inputs in addition to analog signal inputs. With digital sources, there's no need to use DACs. Analog and digital sources are handled identically.

2) Digital tape input/output in addition to analog tape loop. Analog tape output is available, unprocessed, from the analog inputs; or, via the DSP, from both analog and digital sources. Digital tape input and output are also available, but monitoring is possible only if the recorder has a DAC;…

NAD 118 digital preamplifier Page 3

How to Evaluate the Sound?
The 118's versatility can be employed in several ways. First, as a complete analog in/out preamp, it works as a line-level preamp controller in a standard audio system. Second, as a digital-in/analog-out preamp, it functions as a system controller and DAC for an all-digital system. In addition, an external DAC can replace the 118's built-in DAC. Note that the DSP engine is always in the listening circuit because the gain and balance controls are always operable. This also means that the DSP In/Out button is merely changing the processing algorithm to one that…

NAD 118 digital preamplifier Specifications

Sidebar 1: Specifications

NAD 118 digital preamplifier: Line-level preamplifier/control unit with remote control. Inputs: 4 analog (100k ohms + 450pF input impedance, 80mV sensitivity, 86dB S/N Ratio), 4 digital (S/PDIF RCA). Analog and digital tape loops, 1 digital output (S/PDIF RCA). 18-bit A/D converter (106dB S/N), 20-bit D/A converter (108dB S/N). Frequency response: 10Hz-20kHz, ±0.3dB. Voltage gain: 16.5dB max. THD+SMPTE+IHF IM distortion: 0.03%. All processing in digital domain using 24-bit DSP. Analog outputs: Main (220 ohms, 3V), Tape (100 ohms, 1V), Headphones (120 ohms).
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