SIGNALS & NOISE (Letters to Editor) (Sept. 1989)

Making NoNoise

Dear Editor:

The June 1989 issue contains a negative critique of the Sonic Solutions NoNoise system, by reader Richard P. Clancy of Ashland, Mass. ("Signals & Noise"). With Mr. Clancy's judgment of what he hears from the NoNoise-processed Jelly Roll Morton vinyl disc, I suspect that the culprit is not the NoNoise process at all. Here is why.

The Sonic Solutions system is implemented in the digital domain, after an analog master recording has been transferred into the Sony 1610/1630 Compact Disc compatible digital format. The Sonic Solutions process does not alter the music in the manner(s) described by Mr. Clancy, but the analog-to-digital conversion most certainly can . . . and probably did! This is why a great deal of attention is now being paid to the front end of the digital recording process by the music industry in general. As you know, our Colossus four-channel PCM processor was designed first and fore most as an audio archival device, in which we believe accuracy is required when converting an incoming analog or digital signal.

As with such things as digital and quadraphony, the technological merits remain. It is only how they are implemented at the design-engineering stages and then utilized in the creative world. I might add that we have experienced the NoNoise treatment of live Colossus recordings, in which stage dimmers leaked into the mike cable at 60 cycles. Nice hum, no more-thanks to Sonic Solutions.

-Brad S. Miller; By The Numbers, Incline Village. Nev.

Review Reviewed

Dear Editor:

I found the review of the Fuselier 3.8D speakers (June) to be most interesting. Having been a fan and owner of John Fuselier's speakers since 1982, I was particularly pleased to see his work finally get the recognition it deserves. Although I consider myself an audio enthusiast, I am not a self confessed technical expert and there fore cannot comment on the data presented by author David L. Clark. Nevertheless, I do believe that I am able to ascertain high-quality sound reproduction and can unquestionably endorse Clark's statement that the Fuselier speakers produce an amazingly smooth response and realistic sound image across all frequencies.

I have owned and evaluated many fine speaker systems over the years, but I can unequivocally state that the Fuseliers are the only speakers I can listen to for hours without coming up wishing the sound were more realistic or suffering from "ear fatigue." I can only attribute this distinctive characteristic to the sophistication of the design and the quality of the components utilized by John Fuselier. The creative genius he has focused on sound re production is definitely to the benefit of the "musically mature audio enthusiast," as Clark so appropriately stated.

Much of the credit for the development and continued support of the Fuselier speakers must go to Julian Scharfman of Julian's Audio in Atlanta, Ga. Julian, recognizing John's creative talents, has personally championed the Fuselier speakers over the years, through good times and bad. He did this for one simple reason: He believed in the man and the quality of his product. Together, John and Julian have stood the test of time, and now, thanks to your article, the rest of the audio world will know of their work. Congratulations on being able to discern, from what must be a plethora of products, a speaker system that is truly worth the search and the money. I feel fortunate to have discovered Fuselier years ago, and hopefully the recognition provided by your article will not make it too difficult for others to obtain a pair.

-Roger L. Gehri; Address withheld

Won Liners

Dear Editor:

At $15 per Compact Disc, some labels provide minimal liner notes and information. (I'm sure most readers would agree.) However, the next Grammy award for liner notes can go to Epic Records and producer Luther Vandross for Gregory Hines' debut album. The notes, credits, and information enable the listener to feel closer to the music. Very thorough.

-Al Shaker; Detroit. Mich.

(Source: Audio magazine, Sept. 1989)

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