Click to read: Top-quality sound doesn't necessarily require top-dollar expenditure. This article shows why.
Click to read Extracted from, 'System-Building for Lifelike Sound': A 'review' of the Audio-Research LS3 line-stage pre-amp. This pre-amp is also compared with the 'purist' mode of system operation (pre-amp less) where the source-component is directly connected to the power-amp. Surprising findings are in the offing.
Click to read: Controversial, but logical: This article questions the mis-placed priority accorded 'low-level detail-resolution', in high-end audio, and suggests the prioritized order of the truly MOST IMPORTANT FACTORS for REALISTIC AUDIO REPRODUCTION. Click to read (above) and....Enjoy.
Click to read A continuation of Part 1, this piece highlights dis-similar sonic characteristics in high-end speakers of the past and present. Bold, but logical, conclusions are made as to which is the most realistic.
Click to read This features instances, in the mainstream audio-press, where the controversial arguments posited in Parts 1 & 2 have been inadvertently substantiated. A greater grasp of the crucial requirements for sonic realism is probable.
Click to read Sub-titled, 'THE ROOTS OF EVIL': A quest thru the past to find the roots of the short-comings in the today's speaker-systems.
Click to read A look at the Linn Sondek. And a listing of several alternative turntable brands, all of which offer units with better performance than CD-players.
Click to read A look at the Grado Reference Sonata cartridge. And a discussion of moving-magnet as a viable, and more accurate, alternative to the popular and expensive moving-coil cartridges.
Click to read Contrary to what most think, the very best source-component is not the turntable (or CD-players, as some believe). This article highlights the absolute BEST!
Click to read: Really a review of amps in the writer's system: Identified in this piece is a major fault of many amps not readily discernible because of the similar fault in most speakers - as previously highlighted.
Click to read: A brief discussion of the relevance of D.I.Y. speaker-systems, and their influence at the cutting-edge of the industry. A step-by-step account of the development of the writers own system is included.
Click to read: A controversial article alleging questionable tactics, by the audio-press, contributing to a retrogression in general audio standards, and despair (economic & otherwise) for some readers who've been led astray. Be amazed!
Click to read: An in-depth description of the components of the writer's audio-system as influenced by the philosophies expounded in previous articles. And a description of the resulting sound of the system as a whole. [This is the mega-essay that started it all. Perhaps around ten articles, including 'From HiFi to High-End... Parts 1 - 4', were spawned from this mega-essay. This is where WAJ on AUDIO began - hopefully this whole endeavor assists and inspires others in their search for sonic realism.]
Click to read: A brief expansion of the strategies employed in a quest for accurate bass reproduction as it relates to, 'System-Building for Lifelike Sound' - the article, and the system. More to come on all topics - KEEP CHECKING THIS SITE
Click to read: This revised article looks at the lower-midrange in speakers, active and passive pre-amps in the context of recent discoveries by the Audio Critique magazine. A look at this recommended magazine is also included.
Click to read: PART 2 of the article above.
Click to read: A look at affordable pre-amps which, arguably, out-perform mega-buck units. And introducing the Dude line-stage pre-amp, by TRL - a giant-killer!
Click to read: UPGRADE YOUR EXISTING PRE-AMP: A very simple, and inexpensive upgrade promises "stunning", "absolutely astounding" results. Apparent performance approaching that of the better passive pre-amps (in their areas of strength) and, therefore, possibly surpassing that of some of the most expensive active pre-amps, is entirely likely - depending on the original quality of the pre-amp so upgraded!
Click to read short version Many audiophiles believe that for the very ultimate in speaker performance one needs to spend upwards of $100k - or just drool.Surprisingly, the ultimate speakers may be had for a relatively small outlay of funds. This article provides a listing of some of such speaker-systems. Be advised, though, that those who're inextricably wed to the popular concept of the 'ultimate' speaker (ie; narrow baffles, small cones, and small sound) could possibly be better served looking else where. The speakers listed here are all about absolute SONIC-REALISM - without concession, gimmickry, or compromise - contrary to the popular trend! :
Click to read: Why hasn't the CD format lived up to its extra-ordinary expectations, especially in dynamism? This article ponders the question. We also ponder whether the standard practices of many recording-engineers may be responsible for the under-performance of this once-promising format.
Click to read: Low-level detail and the sound-stage; these days they're all the rage. But this article (once again) seeks to put them in their proper place(s) in the context of the realistic overall reproduction of music. In this context, WAJ on AUDIO re-asserts that both detail-resolution and sound-staging are highly over-rated, especially in the absence of the vastly more important elements.
Click to read: Yep! This was bound to happen. It was inevitable - as sure as the night follows the day. We now have audiophiles who believe their systems' sound is 'superior' to that of the live instruments their systems should be COPYING. No further comment will be offered here, except to say that this is truly depressing, not to mention; pathetic. Read it and weep, I'm sorry to say!
... can't believe that following advice sight unseen could produce something so excellent. A lot of advice out there and lots of opinion . Following yours has produced good results so far....
Apparently, the beneficiary was so enamored with the system, that he sought to claim credit for its design. Note that this is the very task he'd asked me to accomplish for him. And, by his own admission, I did exactly that (according to comments like those of his above). And my only incentive in doing this (apart from merely helping a previously-admitted hifi-novice) was to have the veracity and efficacy of the radical principles expounded at this site verified by a completely independent individual, after his being exposed to the results of same. This was also achieved, admirably. And, subsequently, the fellow turned around to claim authorship of that which he'd previously admitted to being incapable of achieving - to that which 5 months of my time and effort had been dedicated. But, obviously, in such a scenario, one cannot be receptive to false claims and delusions of grandeur. (The full thread - from Part 1 thru to Part 6 - also reveals the utterly ridiculous nature of any such claim). Needless to say; there's no 'fairy-tale' ending to this saga!
Click to read: And why were all related articles and thread removed?Well, basically, it all turned out to be more trouble than it was worth, really. Perhaps I should expand: And I have. Be advised; this is no pleasant 'fairy-tale'. Please click the link above. And a revised version of this thread is below - starting with Part-1. On second thought, perhaps it was all 'worth it', after all.
Click to read So here we have the extremely well-learned and esteemed founder of Stereophile merely repeating the fact that high-fidelity is about copying as closely as possible the sound and characteristics of live acoustic instruments - with this; The Acoustical Standard, as the most relevant reference. This is exactly as we've all come to learn, and absolutely in accordance with every bone-fide document on the subject of high-fidelity, as all who know would agree. (It's also in accordance with simple common-sense - even for those only interested in electronic music - since it establishes the standard of performance, on which even many electronic instruments themselves are based).Yet, we also have the current editor of the same Stereophile magazine (who should really know better) contradicting the founder to suggest, to teach, to advocate a paradigm which devalues and largely disregards the fundamental basis of high-fidelity, and which ensures the further lowering of standards in what remains of concept of 'high-fidelity'. Why?
Introducing One of the World's Great Audio-Systems; The 'Double-Autograph' Tannoy-Rig
Recently, I was contacted by a reader, Chris T, from South Africa. Here's how he first introduced his truly outstanding system;
"50 plus years of hi-fi. Biased towards horns and valves (tubes) but use mainly a Tact semi-digital amp at the moment. I agree totally with your comments about realism in reproducing music and how to achieve it.
I also am a fervent DIY'er and a great deal of my equipment has been self made. The picture of part of my speaker system is an adaptation of the Tannoy Autograph but with 2 X 15" dual concentrics and much heavier cabinet walls coupled with additional ribbon drivers to add to the mids and treble plus a super tweeter. Sub woofer is just as extreme."Just imagine having such a system, in such a room, at your disposal. Click above for the owner's review.
Click to read: The following is the thread of our e-mailed correspondence before and after the review (re; part 2) was submitted for publication:
Click to read: Part 2 of "DIY Speaker-Systems - Their Relevance & An Example"
Documenting updates to my own DIY speaker-system.
[Temporarily inaccessible] Including a Glance at the Issue of Room-Correction
WHEN MUSIC SOUNDS, gone is the earth I know **** And all her lovely things even lovelier grow **** Her flowers in vision flame, her forest trees **** Lift burdened branches, stilled with ecstasies. **** WHEN MUSIC SOUNDS, out of the water rise **** Naiads whose beauty dims my waking eyes **** Rapt in strange dreams burns each enchanted face **** With solemn echoing stirs their dwelling-place. **** WHEN MUSIC SOUNDS, all that I was I am **** Ere to this haunt of brooding dust I came **** And from Time's woods break into distant song **** The swift-winged hours, as I hasten along.