[27] Spot frequency tones at -20dBFS (L+R) (DDD) 6:15
10Hz (Index 1), 12.5Hz (Index 2), 16Hz (Index 3), 20Hz (Index 4), 25Hz (Index 5), 31.5Hz (Index 6), 40Hz (Index 7), 50Hz (Index 8), 63Hz (Index 9), 80Hz (Index 10), 100Hz (Index 11), 125Hz (Index 12), 160Hz (Index 13), 200Hz (Index 14), 250Hz (Index 15), 315Hz (Index 16), 400Hz (Index 17), 500Hz (Index 18), 630Hz (Index 19), 800Hz (Index 20), 1kHz (Index 21), 1.25kHz (Index 22), 1.6kHz (Index 23), 2kHz (Index 24), 2.5kHz (Index 25), 3.15kHz (Index 26), 4kHz (…
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Track Information, Tracks 27-29, CD Player & Tape Recorder test tones
Track Information, Tracks 30-31, High-Level test tracks
WARNING: TO AVOID DAMAGE TO YOUR LOUDSPEAKERS AND HEARING, DO NOT PLAY THESE TRACKS AT HIGH LEVELS
[30] 19+20kHz at 0dBFS with spoken warning (L+R) (DDD) 0:21
[31] 20kHz at 0dBFS & -20dBFS with spoken warning (L+R) (DDD) 0:31
These tracks will be of no concern to the audiophile who is just interested in music, but will be found very useful to those with a spectrum analyzer. Track 30 tests a CD player or D/A processor for intermodulation distortion—see Stereophile's reviews for more information. While only…
Sidebar 1: Stereophile Test CD 2 Track Listing
Stereophile Test CD 2 STPH 004-2 Total playing time: 74:28
Warning: Because of the high peak:mean ratio of the sound of the instruments in tracks 1-4, you can easily set the playback level too high for the tracks that follow!
Music Tracks:
[1] Channel Identification 0:37
[2] Channel Phasing 0:46
[3] Acoustic Drum Solo 3:37
[4] Acoustic guitar solo 3:07
[5] Igor Stravinsky: L'Histoire du Soldat (excerpt) 0:56
[6] Sergei Prokofiev: Flute Sonata in D, Op.94, Allegro con brio 7:00
[7] Franz Schubert: Ave…
Sidebar 2: The Musicians
The Brassworks was a chamber group formed in 1985 by musicians living in the Champaign-Urbana (Illinois) area, which is home to the University of Illinois. Members of The Brassworks were drawn from the university community, as well as from the Air Force Band of the Midwest at nearby Chanute Air Force Base. The group was dissolved in 1991 when most of its members took new positions at various locations around the country. The arrangement is from an unpublished manuscript by Charlie Caranicas, who was at that time a student at the University of Minnesota.
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Sidebar 3: Credits
Test CD 2 was produced by John Atkinson with the invaluable assistance of Robert Harley; master-tape assembly and digital editing by Doug Doyle on the Sonic Solutions Sonic System at Digital Brothers, Newport Beach, CA; booklet text by John Atkinson, with contributions from Robert Harley, Peter W. Mitchell, and Corey Greenberg; booklet design and production by Diane Harris and Janet Resnick; booklet cover illustration by Janet Resnick. Our thanks to David Manley and VTL for the loan of the Manley Reference Analogue to Digital Converter and for the use of his studio, to…
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…
Two other provisions of AHRA are of less interest to audiophiles but nonetheless bear mention. First, digital copying devices must be equipped with the Serial Copy Management System (SCMS), which prevents unlimited serial copying of copyrighted material. When SCMS is incorporated into a digital recording device, the device can make unlimited first-generation copies of original prerecorded material. However, SCMS prevents the recopying of those copies (footnote 7). Second, AHRA provides compensation to copyright holders for lost revenues resulting from home taping, in the form of royalty…
Thus far, the courts have found these programs to be not guilty of copyright infringement. However, all eyes are now on the Supreme Court, which is currently deciding a case involving a suit brought by MGM Studios against Grokster. The ensuing decision will almost certainly be of monumental importance in deciding the future of P2P programs. However—and this cannot be overstated—the Supreme Court is addressing the legality of Grokster itself (and, by extension, related programs), not the actions of those who use such a program. In other words, even if Grokster is found to be not guilty of…
Laurence Borden returned to this subject in November 2005 (Vol.28 No.11):
On June 27, 2005, the Supreme Court issued a unanimous decision in MGM vs Grokster, reversing a decision by the Court of Appeals, which had ruled in favor of Grokster on the ground that the file-sharing technology at issue was capable of commercially significant noninfringing uses within the meaning of the Supreme Court's previous decision in Sony vs Universal Studios. Because the opinions of the Supreme Court and two lower courts, the District Court and the Court of Appeals, were based in large part on that earlier…
Letters in response appeared in December 2005 (Vol.28 No.12):
Copyright law
Editor: Laurence A. Borden's September 2005 article regarding copyright law as applied to copying and sharing music was a valiant effort. Unfortunately, because copyright laws, much like the tax code, were written by and for lawyers and lobbyists, it is all too easy for nonspecialists seeking to explain the law to go astray.
First, the article suggests that making digital copies of music for your personal use was a matter of fair-use principles until the passage of the 1992 Audio Home Recording Act…