Think Pieces

This journal has seen a number of thoughtful ruminations on what it is that attracts us to music or to a given audio component, and how we should describe that attraction. The "Letters" pages have been filled by readers who have taken us to task for not adhering to rigorous scientific methods in the evaluation of components, those rigorous scientific methods usually being equated with double-blind listening. Other readers have praised the magazine for its stance that an educated listener in a familiar, relaxed environment will be more accurate in his or her assessment than an average of trained and untrained listeners in unfamiliar, stressful circumstances. Overall, sonic descriptions from diverse reviewers in different publications show a remarkable consensus of observation (not opinion).

"I never touch the stuff," I say, totally disassociating myself from my husband's addiction. "Well," I admit, when pushed, "I do use it sometimes---but I never do the hard stuff."

For all its excesses, high-quality audio is filled with purists. Some are committed to single-ended amplifiers, some to all-analog circuitry, to crossoverless speakers, or to recordings made with only two microphones. Purists seek simplicity in their quest for good sound. But how simple is it to scrub contacts, adjust tonearms, or meticulously clean discs before nearly every listening session? Maybe committed purists should just be committed.

When I became Stereophile's editor in 1986, the median age of the magazine's readership was the same age as I was then, 38; ie, half the readers were younger than 38, half older. According to our most recent reader survey, the median reader age is now 48, meaning that in the intervening 19 years, that median reader has aged at half the rate of the rest of us. A nice trick. But older that reader certainly has become, which has led to cries of doom from some quarters of the audio industry.

I want to talk about the acoustics of live music and recordings. As I write this I'm back in Boston for a week, re-calibrating my ears with (excuse the expression) the "absolute sound" of live music in various concert halls. On Friday the Boston Symphony played symphonies by Mozart and Shostakovich, producing (as always) magnificent sound with the aid of Symphony Hall's near-legendary acoustics.

Nature and Nature's laws lay hid in night; God said, Let Newton be! And all was light. —Alexander Pope

Most audiophiles are aware of the modification and add-on aftermarket. A few have learned the hard way that modifier competence varies from primitive magic and sales hype to real engineering skill. Some modifiers are serious audiophiles who are also good technicians; others are scam artists whose only goal is to make a quick buck on the latest fad. If you have only a rudimentary understanding of electronics, you may not be able to make a distinction. Even the most jaded and battle-hardened among us can still be hooked and reeled in by a slick sales presentation.