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Just Reward
Editor: It's been 25 years since I lived in Sea Cliff, New York, and I get the feeling it's a good thing, too. A lot has happened since then: I grew up, got into "stereos" and rock-n-roll, went to college, and got into "progressive rock" and "hi-fi." Now "I are an engineer," and read all kinds of foolishness about capacitors that sound bad and too much negative feedback being too much of a good thing. But I'm an open-minded sort of sap and, after actually bearing the difference between a run-of-the-mill Yamaha and a Spectral DMC-10 at a friend's house, I must admit there's something more going on here than just high-priced hype.
I don't have $7000 to drop on a system right now, but, as an engineer, I like to hear about the state of the electronics art. Which brings me back to Sea Cliff. Out of the various "rags" in circulation today, some have no objective merit; others have an attitude problem which I think demonstrates a lack of professionalism. To put it plainly, until I actually get a copy of /AR to compare, your publication stands out as the best option available. Your solicitation in the mail was timed perfectly with my growing interest in the "high end"; the enclosed subscription check is your just reward.
Donald Kruelski; Sperry Corp.
Reston, VA
Missin' the Brisson?
Editor: I am writing in regards to Anthony Cordesman's speaker cable and interconnect survey in Vol. 8, No. 2.
Although Mr. Cordesman's ideas and evaluations are generally accurate, he apparently didn't have access to the Bruce Brisson -designed MH-750 "Music-Hose" speaker cable and MI330 interconnect. Had he auditioned them, preferably together or separately, he would have found them un questionably Class A, State-of-the-Art.
There is nothing currently available, including all of Mr. Cordesman's Class A and Class B cables, that come even come close to the Brissons in a sonic comparison. With all due respect to Mr. Cordesman, even though their prices are extremely high in com parison to other cables on the market, he should have included them, not only in respect for Mr. Brisson's incredible achievement in cable design, but because Stereophile readers now have a reference standard against which to compare all others.
I must add, however, that Anthony Cordesman is a valuable asset for Stereophile; you are very fortunate to have someone like him on your staff.
I enjoy reading your magazine and will continue as a subscriber. Thank you for your continued efforts in making the Stereophile worth subscribing to.
Sherod Mengel No address supplied AHC did include Bruce Brisson 's "Music Hose" cable, under its brand name of Music Interface Technology, and it was at the head of the "Class A Speaker Cables" section. He did not have access to the inter connects when the report was put together But remember AHC's caveat: when you get up to the highest level of cable performance, system differences can easily change the ranking of one cable relative to another VCR Hi-Fi Editor: The time has come to replace my ailing tape deck. In view of the glowing reviews I have read on both the Beta Hi- Fi and the VHS Hi -Fi VCRs, I thought it would be wise to replace my audio deck with one of them.
I can get a hi-fi VCR for the same price I was expecting to pay for an audio deck, with the advantages of superior audio, longer recording time, and video capability.
I have one question, however: a review in one of the other publications stated that the noise-reduction system caused some noise pumping, or breathing, when a digitally mastered piano recording from a compact disc was dubbed, and that it occurred on both formats: VHS and Beta. Is this because it was dubbed from a digitally mastered disc, or would this occur regardless of the source? Since I listen to much classical piano, I am concerned. I would most appreciate your view on this problem to help me make an intelligent choice.
Albert J. De Gaetano
Lansdowne, PA
First of all, breathing and pumping are two different things. Pumping occurs when a compander (compressor/expander) decoder fails to "track" the encoding tithe signal, exaggerating the dynamic range of the playback. Pumping is a sign that a compansion system is malfunctioning.
Breathing is audible when the spectral content of the signal fails to mask the back ground hiss during high-volume passages when the decoder increases signal gain.
Breathing is common to all two-pass noise reduction systems; it just varies in severity from one system to another and depending on how noisy the recording medium would be without noise reduction. The reason it is audible with piano from CD is because much of the piano's range is too far below the tape's hiss to mask it, and because the CD's own background is so low that it falls far below that of the recorder during quiet passages. The changes in hiss level cause the breathing.
For various reasons, we have not as yet tested either a VHS or a Beta Hi-Fi VCR. AHC did, however and did not find breathing to be a problem (Vol. 7, Na 6, page 57). Truth Out of Lunacy Editor: It must surely be the very first time in all my reading of Stereophile that I have found myself in unqualified agreement with something you said! I refer to your "Down With Flat" editorial (Vol. 8, No, 4). Because of this shining bit of truth in your otherwise mostly lunatic outpourings.
I have renewed my subscription.
David Meraner
Schenectady, NY
But not your faith, huh? Plaudits
Editor: I just wanted to say that I think Stereophile is a most worthy magazine. I am renewing my subscription. You have several good writers, but I continue to especially admire the writing, as well as the judgment, of J. Gordon Holt. Never mind that he occasionally (!) paints himself into a corner.
I cannot understand why Sam Tellig isn't listed as a contributing editor. He contributes much to the magazine. Could we hear more from George Graves?
John Master
No Address Given
George Graves will be contributing to this worthy rag on a regular basis in future.
"Sam Tellig" is a pseudonym, but we will begin to list him on the masthead.
JGH says that time is usually on his side.
The paint dries after a while, and he's out of his corner again, wide-swath brush at the ready.
That Dirty Ninth
Editor: May I add to your comments concerning Glenn Gaudis's difficulty with the Suitner Beethoven Ninth? Your flip comment to "hie thee to a choral concert" is somewhat inadequate. Consider: The sound developed in a concert hall, whether orchestral, vocal, or even pipe organ, is directed to an audience from a little farther from the source than a micro phone only inches away. A singer in a per forming atmosphere projects to the back of the hall. To place a microphone a few inches from him is to do a disservice both to the singer and the auditioner of the recording.
Remember Bing Crosby? He sang to the microphone, not to the audience. An opera singer or a chorister sings to the audience, and a judicious engineer will place his pickup at that magic spot, usually some where between 15 and 30 feet in front of the ensemble, to pick up the sound after its development. Otherwise the stridency of the projected voice will be recorded as well.
This has nothing to do with any peakiness of studio condenser. In fact, most of those in use today are almost ruler-flat.
Early in the public debate over the stridency of CD recordings, the same apology of microphone peakiness was put forth by the technical editor, no less, of one of the mass media magazines. Surely, those of us who have made live recordings and listened through decent monitors to the source of the sound can understand that these anomalies all exist and are recorded, both analog and digital, when the engineer does not optimize his pickup placement. His failure to do so may be due to one or more of the following:
1. Poor monitor speakers or headphones which give him a false reading of the live sound.
2. Yielding to a producer whose perception is less than adequate.
3. Lack of knowledge of the music being recorded.
4. The propensities of producer and mixing engineer to rely on the "truth box," reducing otherwise excellent sound to the lowest common denominators of the Walkman and auto radio. For the benefit of the uninitiated, the truth box is the 4-inch-or-so speaker, usually on the mixing desk, that is supposed to represent the average John Q. playback system. It is certainly less than the state of the art.
The recording and broadcast industry have consistently lagged behind the high end audio industry in their abilities to reproduce music. They have always been able to put more on tape than they could get back, which has led to ignorance of what they put on the recording in the first place.
It is difficult for the high-fidelity aficionado to understand why the industry continues to lag behind the state of the art; it defies all credulity that the EQ capabilities of the mixing board can change a violin to a string bass, but cannot tame the horrible screeches found on many CDs. The answer has to be lack of adequate monitor equipment, impaired hearing, ignorance, or disinterest. Having supervised the mastering of my own tapes, I have found it necessary to tie the hands of the mastering engineer to keep them away from his equalizer.
I therefore question your statement that the master tape is probably no more "defective" than the disk.
J. K. Jobson
Austell, GA
It all depends on what you consider a defective disc. Most record manufacturers concede that a disc is defective if it produces loud, extraneous noises or won't play at all. They have never, ever, considered a bad-sounding record to be defective, no matter how, bad. Then, is no reason to expect that policy to change now that CD bas come along.
It is quite obvious, from the sound of the Suitner Beethoven Ninth, that there were no microphones "inches from" anything.
In fact, the apparent distance of the chorus is considerable, and it is about the choral sound that ME Gaudis complained.
It may be true that "most (mikes) in use by industry today are almost ruler-flat," but they don't sound that way. Maybe it's HF distortion, but whatever it is, some thing gives the majority of professional condenser mikes a definitely "hot," strident sound.
Analog's major fault through the years has been its tendency to lose high-frequency response as it goes through the record/play process. In contrast, digital suffers no such HF losses. In fact, many CD players exaggerate apparent HF content by reproducing it at full strength with an additional overlay of distortion. The result is that small extra-musical noises are often magnified on CD. This is why analog sounds "clean" and "rich," while CD frequently sounds "harsh" and "cold." It would be nice if every producer used minimal miking, with really good microphones, but multi-miking need not necessarily cause shrill sound. It depends on how it done, and how little EQ is purposely added to "brighten up the sound." Woofing Away from the Watkins Editor: After reading Vol. 8 No. 4 (your best issue to date) I have a question regarding the VMPS subwoofers. When used with the Watkins and crossed over at 100 Hz, wouldn't all three of the Watkins's woofers become inoperable? I noticed in their literature that they are crossed over in the WE-1 at 100 Hz also.
Also, regarding the new version of the Watkins, is the Eagle 7A (new version also) still the amp of choice? I am definitely going to purchase the WE-1s and wonder if there are any cheaper amps that can be recommended for them.
John Gradowski
Lakewood, CA
Actually, since the crossover point indicates where the high and low frequency drivers are both 3 dB down, the Watkins' woofers would still be contributing substantial musical energy at 50 Hz-but they would be substantially bypassed. DO preferred the quality of VMPS low end to what be got from the WE- is by themselves.
In JGH's listening room, the improvement would not have justified the extra cost of the VMPSes.
We have not yet heard the new Watkinses or the newest version of the Eagle 7A, but we did find the much less expensive Eagle 2 to be at least as good as the 7A for driving previous-model WE-Is.
Theoretical Obscurantism, Plus
Editor: Normally we prefer to keep our penchant for metaphysical speculation somewhat apart from our enthusiasm for fine audio equipment and the theoretical principles of sound reproduction. But since Mr. Bill Sommerwerck has, as it were, thrown down the glove (no doubt the one that's used to damp the spurious resonances of the famous One Hand Clapping) in his article "Zen and the Science of Electrostatic Speaker Operation" (Vol. 8, No. 3), we feel compelled to respond.
We have long suspected that the phenomenon of "sympathetic interaction" (such as the elementary particle behavior to which Mr. Sommerwerck refers) plays a significant role in the obvious affinity between recordings made with capacitor microphones and music reproduction through capacitor principle loudspeakers (electrostatics). Surely Mr. Bill's theory shines a blinding ray of enlightenment upon this hitherto unexplained complementarily.
We eagerly anticipate a BS review of the forthcoming ZenTech 101 Air Response Linear Transduction System, where mere selection of the software source implements instantaneous sympathetic interaction with the distant speaker, without the intervening inconvenience of the present generation of dreadnaught power amplifiers and expensive interconnects! The Staff, Exoteric Audio, San Francisco, CA
Hand-washing
Editor: For several years now I have employed a record cleaning technique which I find efficacious.
First, I treat all of my records using the LAST System. Thereafter, for casual cleaning I use a Discwasher brush, but rather than using the Discwasher fluid (which has a nasty tendency to leave little beads of moisture all over the record), I apply a fine haze of moisture to the rotating record with my breath, as I would to fog a mirror. If my understanding is correct, the air exhaled has undergone a significant degree of filtration, and likewise the moisture exhaled is of a high purity, being produced at the cellular level.
I have yet to recognize any degradation of the sound, even on older, "un-LASTed" records. Any thoughts on this?
Second topic: Hum from my AR turntable.
I have had my AR for just over a year, but the hum has only become significantly pronounced since the addition of a subwoofer last month. It only occurs when the platter is rotating (drive motor on) and the cartridge is over the platter and an inch in from the edge. I use "classic" grounding practices: no ground loops, etc. An earth ground effects no change in the hum, nor does shorting the cartridges /headshell to the platter with a jumper. What gives? For clarity, my system comprises: Grado F3E + cartridge, AR turntable with arm, PS Audio Elite plus integrated amplifier, Nelson-Reed 6-02B speakers plus SWI201 sub woofer, and monster cables.
Paul Theodoropoulos
San Francisco, CA
Re: Your record care practices. If they work, who can argue? Re: Hum from the AR. Grounding won't help; what you describe is inductive bum, picked up by the cartridge's coil from a nearby coil carrying AC. In this case, the coil is in the drive motor We have heard several complaints about inductive hum from the AR 'table, primarily with Grado cartridges, which use little or no shielding. We suggest you ditch the cartridge for one with better internal shielding; that is, just about any other we've reviewed.
The Stereophile CD
Editor: Many blue moons ago, Stereophile expressed interest in producing a CD that, sonically at least, would be the cat's PJ's. Being quite interested in this idea, I merrily shipped off my postcard pledging my good faith in the matter. Since that time, I have heard nothing further from you regarding that seemingly quite worthwhile project.
Has this idea been killed? If so, was it because of:
1. Lack of reader support?
2. The discovery that it would probably cost you a tonearm and a leg to produce?
3. Your belief that such a masterpiece has since been pressed on a CD?
Mark Metzger Natick, MA
None of the above. The reason we haven't done this is, purely and simply, lack of time. The response was not overwhelming, but definitely positive. We'll keep you posted.
Beautiful Open Reels
Editor: Could you please tell us the state of probably the most beautiful music reproduction source, the open-reel tape deck? Why don't I hear anything about them anymore? I realize, with the proliferation of low cost CD players, that producing expensive and elegant precision open-reel decks is not popular or cost-effective. But should we trade all of this for convenience and the un naturally slick, non-monotonic, artificial, and electronic sound of CDs?
Robert Millet
Lake Charles, LA
Open reel is alive but unwell--certainly among consumers, anyway. With only two small companies now making open-reel prerecorded tapes, the available repertoire is limited, the tapes are relatively expensive, and, in most respects, they cannot compete sonically with good CD reproduction.
Quad Rumors
Editor: I recently heard a rumor concerning the Quad ESL-63. My source, a potential Quad dealer himself, said that he'd heard there had been a reliability problem with the diaphragms on the ESL-63, caused by the speakers coming in contact with jet fumes while being shipped by plane from England.
This sounded silly to me, but I guess it is vaguely plausible. I have read quite a bit about Quads, but have never heard about any reliability problems with them. I know that you have reviewed them on several occasions. What comments do you have? Larry Paul Baldwin, NY There have been a few problems with ESL-63 breakdowns, but that's the damndest explanation we've heard! Early production 63s bad problems in their “crowbar" protection circuitry, as well as a tendency for the diaphragm to arc over at high altitudes (before the protection circuitry cut in). Quad tells us both problems have been ironed out; we know the protection circuitry is more durable but haven't bad a chance to check out the high-altitude arcing.
Bozak and the High-Priced Malaise
Editor: Mention of Souk was made in Vol. 8 No. 3 (pg. 46). Yes, I would like their new speakers reviewed; I suggest you review the Concert Grand model, which, I believe, is still offered. I have used an old pair (bi amped) for years and liked them for their overall good sound and musicality (1 am aware that "new wave" audiophiles don't share my opinion-perhaps they should!). At times I have considered updating, but upon listening to current "in" speakers, I couldn't imagine living with them for long.
Bozak equipment and design philosophy have stood the test of time. Few stereo pro ducts of any era can match Bozak's record in this respect.
I am experiencing a sort of malaise lately regarding your and similar periodicals. It's not the magazines per se, but the subject matter. Here we have all this fancy gear costing more than a new car, and most of it doesn't even sound good (as reviewed). I wouldn't like to spend $20,000 for a lousy car or mediocre sound. It's as if you have to review mostly lemons priced beyond the level of most people's interest or ability to consider anyway. How much more absurd can this scene get? With that said, may I commend you for some of the recent comic touches and for the magazine's overall general improvement in the last year or so.
Jack Fletcher; San Diego, CA
He Bwoke It!
Editor: Your latest edition of Stereophile (Vol. 8, No. 3) was excellent, as usual, but Bill Sommerwerck's review of the CES, specifically his "I Bwoke it, I Bwoke it" theme, made me sick.
Many manufacturers are very small, relying on the CES to get exposure for their pro duct. They invest many hours and dollars to prepare for the show, and then a JERK like Bill Sommerwerck comes along and tries to steal knobs from prototypes, effectively sabotaging an exhibit's chance for success.
This can ruin the show for everyone.
How would Sommerwerck like to merely stand in the halls of the exhibit buildings, having to view and hear the newest equipment through perforated plexiglas doors, in order to prevent ripoffs? I assume Bill Sommerwerck's attitude does not prevail throughout Stereophile, but how can you condone it by printing it?
Matthew Honnert; Carol Stream, IL
You really underrate the character of our staff members, don't you! If one of us chose to rip off something--something at CES, do you think it would be a silly little knob? We're not that petty. It would be something more like a pair of Conrad-Johnson Premier Fives or Dave Wilson's demo WAMM system.
Non-functioning pre-prototype prototypes (cardboard and wood models)are so rare at CES that all of us assume that any sleek-looking component in an exhibit is the real thing; we can be forgiven for checking to see whether the controls have that sexy Japanese feel
Bill was not trying to steal knobs; he was just trying to rotate them. When they came off in his band well, he tends to be flippant about embarrassments. It's a defense mechanism.
Our feeling is that, if a nonfunctioning prototype is on display at CES, either it should, in fact, be behind glass (like the Finial Technology laser-reading LP player), look like a cardboard and wood construction, or be ruddy-well better stuck together than they usually are. Has no one heard of epoxy glue?
Unreliable Products
Editor: I feel compelled to write you, upon reading your somewhat quick dismissal of Howard Geifman's letter on component reliability (Vol. 8, No. 5). I must suggest a further investigation of his views. A reader and/or dealer survey must be conducted to truly reflect the actual state of our high-end art. I am afraid there is more trouble in paradise than your reply would suggest.
As an active audiophile (I often change components a few times a year). I have spent a great deal of time speaking with end-users (through many N.Y./N.J. area audio clubs), as well as with dealers, to get their thoughts and experience on products, manufacturers, and service/reliability. The high-end being what it is (perhaps not what it should be), we consumers could get more reliability and performance than we are.
A few examples, both good and bad: Lou and Nancy Souther do back handsprings to assure the level of satisfaction that should come with a product having your own name on it! VPI, on the other hand, saw fit to charge a friend of mine to repair a record cleaning machine that actually fell apart at the seams during the first few months of ownership. The Moscode seemed curiously interesting, but TAS got two no-workers until a third hand-delivered sample worked. I recently spoke with a dealer who not only suggested that this was a normal average, but that the wonderful specs the manufacturer claimed are far from what the amp produces on a test bench.
Many of today's doctors, lawyers, etc., are turning to Klyne and Krell as the Mac gear of today. It sounds tolerable, should last at least two lifetimes, and has the added joy of forcing you to call your neighbor to help move it. Much like the new yuppie medium, CD, people have this terrible joy that comes with not having to care. Poor high end components (especially tube) could follow the road on which analog disc is headed if things don't get better. People can suffer just so much for their craft.
I loved the Stereophile cartridge protractor mailing (too bad my Souther doesn't need it)
A. H. Nicosia; Belleville, NJ
In our view Krell and Klyne equipment sounds better than tolerable! We are organizing a reliability survey.
Please, though, no hearsay comments; from the letter above we edited out a reported comment from a dealer critical of two tube equipment manufacturers.
The comment was non-specific and unattributed. You have to realize that these manufacturers, many of whom could be making more money doing something else, have their reputations and livelihoods at stake. If you're going to criticize them, you'd better be willing to stick your neck out.
In the meantime, readers are encouraged to write in whatever experiences they've had. And please mention companies whose equipment performs reliably even when they don't do back handsprings.
Kudos For NYAL Moscode
Editor: Each month I look forward to your publication with anticipation. Stereophile has been a great help in enabling me to narrow down the range of choices in a given area before actually trying them in my system.
After reading the review of the NYAL Moscode 600 and the "Kudos for Thiel" letter, I feel compelled to write. When one channel of my Moscode 300 amplifier went out, l wrote a letter to NYAL explaining the problem. Within a short time, I received a personal phone call from Mr. Rosenberg apologizing for the inconvenience and telling me where to send the amp for repair.
Again in a very short period of time, the equipment was returned in perfect working order (the problem was just a couple of tubes). A complete update had also been done, bringing the amplifier up to current specs. This even included a new on/off switch! There was no charge for any of this.
This kind of personal treatment is extremely gratifying. As for Mr. Rosenberg's prose style (it bothered ANC), I find it a breath of fresh air in a world of dry spec sheets and conservative hyperbole. Here is an individual unafraid to poke a little fun at himself.
Three cheers for Harvey Rosenberg, his products, and his prose!
William R. Kunkle; Scottsdale, AZ
P.S.
How about comparing the Adcom GFA 555, Eagle 2, Moscode 300, and other good, under-a-grand amplifiers? Also, a comparison of under-$1000 preamps would be super. (I know that you're already reviewing many of these, hut more direct comparisons would be even better.) Thanks.
As soon as we get the latest versions of the ,Moscode 300 and the Eagle 1, and a working version of the Adcom, try what you suggest. Watch the cheapskate for under- $1000 preamps.
Uncommunicative Manufacturers Editor: Several issues ago you promised to print a glossary of the subjective terminology you use in your equipment reports (e.g., "sweet," "fat," "lucid," "musical," etc.). So far as I know, you still have not produced one. This glossary would be very helpful for both new readers and long-time readers like me. Much of the time I just guess as to the meaning behind the words used by your writers. I'll never know if I'm right until you have a glossary to which I can refer. Please make this a priority project.
Also you have stated in the past that much of the equipment you review favorably is made by very small manufacturers with limited distribution and availability. This is fine, but when I write direct to these companies, I expect a better response than I received recently. After I read your review of the B&K ST-I40 power amp, I wrote to B&K Components for literature, prices, and a dealer list for nearby Washington and Oregon states. After waiting over two months, I received a one-page "brochure" with a color photo, spec list, and a couple of reprinted reviews (including Stereophile's). There was no price list, no dealer list, not even a form letter acknowledging my request. If I actually wanted to know a little more about this company, I am still no farther ahead. With this type of public relations, these small, obscure companies are destined to remain so. Perhaps someday I will find in your pages a good piece of equipment made by a manufacturer who actually is interested in selling to the public.
I still enjoy Stereophile; by the way, some of your reviews have no photos of the pro duct under review. Can you include photos of all equipment in your reviews?
Gilbert Wong
Sidney, BC., Canada
Whenever we bear complaints of this nature, we beat on the manufacturer to at least act in his own self-interest. Unfortunately, many high-end companies don't lake advantage of the exposure they receive in magazines like Stereophile. There are man), others, however, who are eager to hear from you.
We solicit photographs from all manufacturers, but only a certain percentage are willing or able to come up with them within the cramped time frame ne usually allow them.
Sorry about the missing glossary; jGH swears it's one of his most pressing projects.
Cajun Complaints
Editor: What gives? This makes the second issue of your magazine that I have not received (the first one was the one with the riverboat gambler on the cover). Other subscribers I know have now had the latest issue for several weeks; mine has not arrived. My renewal was posted to my Visa statement over two months ago.
I am inclined to ask for a refund, not so much for the non-delivery of the magazine, but for what appears to be a compromise in Stereophile’s integrity and for the absurd (but not funny) contributions of Anthony Cordesman in the two issues preceding the present one (which I have not seen). I am, of course, referring to the tidbit on the Berning EA 2100, and the trash about the RS1B being a speaker for refined, wealthy audiophiles. I used to consider Courtesan (mis spelling intended) a writer of taste and in sight, but these little ditties give me cause for reconsideration.
For some time now I have been concerned about the honesty of the reportage in your magazine. My first inkling came when the Acoustat amp and preamp were given their raves. I thought I might want to buy a new amplifier, so I gave the Acoustat a try. No cigar. Not even close to what was written.
More recently I had a chance to hear the Eagle amp that is the darling of Santa Fe.
Friends had met at my home with a variety of equipment for comparison, and the Eagle was among the equipment auditioned.
The conclusions that were sent to other friends in a letter say it all:
1. The [brand omitted-SGB] proved itself over and over again. Subtle details blatantly emerged from the sound that the Eagle could only hint at; ambience or "air" were in great abundance-even on less-than average-quality recordings; dynamic range was stupendous, while the Eagle limped along.
The letter concluded with the following:
The Loser: The Eagle amp.
Did someone put mayonnaise in Gordon Holt's ears (or money in his pocket)? This is not a serious contender to the crown for transparency or dynamism. It is, however, a good S600 amp, and can be mated to box speakers incapable of rendering the air and transparency that are second nature to the [brand omitted], such as the Thiels.
It is not, however, a music-lover's delight, but rather an audiophile's scientific instrument. CPO and I don't deny that it will make computer programs that measure ac curacy print more zeros after the decimal point and before the first counting integer.
Julian Hirsch will love this one. But is it music? Back in the old days, Stereophile used to give its subscribers some pretty decent reviews. But a lot has changed, and apparently you want your magazine to change with the times. An acquaintance who considers Larry Archibald a buddy tells me I'm the only one who considers the change in Stereophile to be negative, and that to prove this you now have more subscribers than The Absolute Sound. So does People Magazine.
Maybe I am out of sync. There is a certain Je ne sais quoi to all of this: I still prefer Chopin and Mozart to Madonna and Van Halen; I like tubes better than transistors; I'll take a steak to a fast-food hamburger anytime. I think my preferences in reading material are as equally well-defined.
With all due consideration, Steven Baird; Baton Rouge, LA
P.S. I removed the names of the equipment to which the Thiels and Eagle were com pared because I know for a fact that the manufacturers did not buy any advertising from you. You would, therefore, be able to argue the point (needlessly) that the Eagle was not compatible with one of the pairs of speakers used. It should be pointed out that both speakers in question (the Thiel CS-3 and brand X) were connected to both amplifiers (the Eagle and brand Y). Only the owners of the Thiels and Eagle preferred them to the other equipment in the com parison. Pride of ownership does funny things.
Mr Baird's letter reveals real problems--but not with us. The assertion that Electron Kinetics (the manufacturer of the Eagle)put money in JGH's pocket requires no refutation. In fact, it's the first such assertion I 'te ever read with respect to his 30-year career in audio reviewing.
Fortunately the final remarks implying an unwillingness on Stereophile's part to criticize advertisers' products put Baird 's ravings in the category to which they belong: those of a lunatic. No one could read this magazine and miss the obvious independence of reviews and advertising, though some of our advertisers wish it weren't so. Ironically, neither Thiel nor Electron Kinetics (Eagle manufacturer) number among those who choose to advertise in Stereophile Too bad the comparison names were omitted--they might have proved informative. –LA
Capacitor Upgrade?
Editor: I recently purchased a Magnavox CD player model 1040. For the price, I am very happy with the unit. The purchase was made with the advice of Sam Tellig, writer of the Audio Cheapskate column.
Since the purchase, I have heard and read that I can improve the audio quality of the 1040 by replacing the factory -installed audio output caps with same-value poly propylene caps. I am fully aware that the "poly caps" are larger, and would require mounting in an outboard container. If I decide to go this route, will the audio difference be worth the effort?
Bob Brandt; Wayne, N.J.
Yours is one of very many letters received on this subject. Contributor Graves has been prompted, but the article is not, as yet, forthcoming, I'm told its hoof-beats are just out of earshot, no matter what capacitors you listen through. All reports have it that the improvement is significant, and probably worth the effort and sacrifice of warranty.
Vibrating AR
Editor: I have a bone to pick with Sam Tellig and your esteemed magazine. After reading his rave review of the new AR turntable, I researched reviews in other American and British magazines, and listened to the AR in a few salons in England and Scotland. It is as good as Sam says, and I bought one.
It wasn't in the house two weeks when my daughter asked me to play a 45 rpm disc on it. In moving the belt with the power switch off, I noticed that the motor pulley was vibrating. I phoned Authorized Factory Service, who thought that seemed abnormal.
After leaving it with them for 5 weeks, and enlisting the aid of AR's president to get some necessary replacement parts, I found that the above behavior is considered nor mal for the AR! Sam Tellig never mentioned this; neither did Julian Hirsch, Audio, High Fidelity, Hi Fi News & Record Review, or the AR instruction booklet. Is this a conspiracy of silence, or don't reviewers bother to look under the platter, or do such simple things as change the speed? Please tell Sam to be more thorough next time.
David Adler, M.D.; Clark, NJ
This is normal, not only for AR turntables, but for most other turntables as well. We are surprised that AR's service didn't seem to know.
All 'tables which use a 115-volt synchronous motor also have a capacitor of moderately large value bridged across the AC switch, to prevent loud pops through the system when the motor is turned on and off As you should know, capacitors will conduct AC, their effective resistance increasing as the AC frequency diminishes.
(At 0 Hz, a capacitor is an insulator)
When the motor is switched off a small amount of AC still gets to it through the capacitor The voltage is much less than that required to run the motor, but enough to impart a small, continuous vibration to the rotating part of the motor Of course, the vibration disappears entirely when the motor is switched on.
The reason reviewers never mention this normal condition is that no harm whatsoever is done. With most turntables, the owner has no reason to remove the platter so would never notice the vibration (though it is faintly audible in some 'tables). Since changing speed in the AR requires removing the platter thus increasing the likelihood that the owner will observe the vibration, AR should mention it in their instructions.
Surround Sound
Editor: I enjoyed Mr. Holt's recent editorial on the need for surround sound.
WDHA was one of the very first stations to broadcast FM stereo 24 hours a day, back in 1961. We were also the first station to regularly program SQ and QS quadraphonic recordings, in 1971. In 1983 we were the first station to regularly program compact discs, and today virtually all our music comes from CDs.
We have always worked for technical excellence in our broadcasts, and very much agree with JGH that, for the most realistic, natural, and pleasurable aural reproduction, a surround sound system is very desirable.
We have also observed, as did JGH, that most audiophiles do not seem interested.
Like cassettes and digital CDs, the ultimate success of surround sound depends on its acceptance by the "average" consumer.
Once the direction is established, manufacturers will refine and improve the equipment to entice audiophiles as well. The "average" audiophile has no present interest in surround sound, but it's a different story in video. The home video enthusiast is very interested in reproducing at home the rear channel effects which add so much to the impact of blockbuster films in movie theatres equipped with Dolby Stereo.
With VHS or Beta Hi-Fi, a good pair of amps and speakers, and a processor like the one made by Fosgate, a very impressive surround-sound experience can be achieved at home. With the inevitable merger of audio and video at home, it is only a matter of time before the average audio/video con sumer considers surround sound to be the norm rather than the exception. In our opinion, it is from home video that surround sound will gain public acceptance, and that audiophiles will come to it only after their video counterparts have demonstrated to them what it can do.
Next, we'll need large-screen or even surround-screen 3D video to accompany the improved audio. Then we'll rarely have to leave our living rooms at all. But when we do, there will always be radio to keep us entertained and informed.
Robert A. Linder; Dover, NJ
Crap and Asparagus
Editor: I think that part of the warmth generated by the wonderful OEM Omnipotent MXLIIV speaker system (reviewed in Vol. 8 No. 4) is due to the chemical reaction be tween desiccated horseshit and damp asparagus.
An interesting effect might be achieved by channeling the resulting methane gas through a tube to the top of the speaker and lighting it. The flame would then vary in brightness according to the dynamics of the music.
By the way, that inverted soundstage is clearly related to the Coriolis effect. If the system were to be played in the Southern hemisphere, I am willing to bet the sound stage would turn right side up.
Donald A. Rosenfield
Clarkson, MI
You misunderstood the review The speaker system itself was not warm; the reported warmth came from the ten 200-watt Class-A amplifiers that had to be used because we didn't have any 5-watters lying around.
There is no 'damp asparagus" in the system. The enclosure's walls are made of an epoxy material, compounded with asparagus xylem-the long, stringy fibers that comprise the plant's stalk-for additional rigidity and improved internal damping.
OEM president Leonard Putz, who claims the system is non-inverting, nonetheless admits that the design team was vacationing in Acapulco during the last pre production tweaking sessions. This, he admits, might confirm your Coriolis theory-if indeed there was any problem to theorize about.
--
[based on a Feb. 1986, Stereophile review article]
Also see:
Ye Olde Compakt Diske (CDs in early 1986)
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