UHF70

BEYOND THE CD: How SACD won the war. We review two SACD players and adopt one of them. And we dare to pit SACD against analog!OTHER REVIEWS: Loudspeakers from Equation, Reference 3a, Wilson Benesch and muRata. Plus a limited edition amp from Simaudio.AS WELL AS: Using an iPod as a full-fidelity music source, the video screens of tomorrow, and Montral 2004.

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Winner WHAT HI-FI SUPERTEST October 2003

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ULTRA HIGH FIDELITY Magazine 1

CinemaFuture screens 19

Can you buy the perfect video screen? Perhaps not yet, but UHF looks at whats hereand whats coming.

Features How SACD Won the War 22

Or, to put it another way, how DVD-Audio blew it big time

Montreal 2004 26by Gerard RejskindUHF exhibits, and we take a look around too

Touring with Witnesses 28by Albert SimonAlbert plays sherpa to a couple of audiophiles at this biggest of electronics shows for consumers

The Listening RoomLinn Unidisk 1.1 31

Is this the source component audiophiles have been waiting for all this time? It looks that way!

Shanling SCD-T200 36It plays SACDs. It plays CDs too. It could even be the player youve saved up for.

Equation 25 Speakers 39Theyre good enough to have been contenders as a reference, and you know what? They very nearly made it.

Reference 3a Royal Virtuoso 42A renewed version of an old favorite. And we do mean favorite!

Wilson Benesch Curve 45Diamonds are made from carbon. So are humans if you add water. And so are the cabinets of these speakers.

muRata Super Tweeters 49Speakers that take up where your ears leave off

Simaudio Moon W-5LE Power Amp 50Specially built for you and 249 other lucky people

Goldring GR1 Turntable 52Its hard to nd a good phono cartridge at this price. This one comes with a turntable and arm.

Apple iPod 54Can it also be a poor mans music server?

SoftwareGershwin Forever! 56

by Reine LessardLife is short, art is long. Gershwins life and legacy are the proof

Record Reviews 62by Reine Lessard and Gerard Rejskind

DepartmentsEditorial 2Feedback 5Free Advice 7Classi ed Ads 66Gossip & News 69State of the Art 72

Issue No. 70

Cover story: The ultimate SACD (and everything else) player, the Linn Unidisk 1.1. Behind it is the very bright Rho Ophiuchi star (the blue one), and the M4 global cluster (purplish, at lower right).

2 ULTRA HIGH FIDELITY Magazine

UHF Magazine No. 70 was published in July, 2004. All contents are copyright 2004 by Broadcast Canada. They may not be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without written permission from the publisher.

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PUBLISHER & EDITOR: Gerard Rejskind

ASSOCIATE EDITOR: Reine Lessard

EDITORIAL: Paul Bergman, Reine Lessard, Albert Simon

PHOTOGRAPHY: Albert Simon

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Ultra High Fidelity Magazine is completely independent of all companies in the electronics industry, as are all of its contributors, unless explcitly specified otherwise.

Changes to the reference systems I suppose every magazine talks about reference systems, though in many cases the role of such a system is a mystery, since it isnt really used for most reviews. In our case, all reviews are done using one of the reference systems. And we change them as little as we can get away with, because a reference that changes all the time is scarcely a reference at all. As of this issue we have several changes, more than we had had for a long time, and indeed more than we had intended. First, we have nally selected a new reference loudspeaker for our Alpha system. The decision was a long time coming, yet the nal choice was swift and unanimous. The new reference is the Living Voice Avatar OBX-R, which we had reviewed in issue No. 67. It has the ingredients we had sought: reasonable size, very extended and clean response, very high resolution, high efciency, and electrical characteristics that won't assassinate small ampliers. It will be an excellent working tool, and incidentally it will be a lot of fun to listen to. We knew the speaker change was coming, but the reviews in our last issue pretty much mandated another change. The Audiomat Phono-1.5 is so good that we decided to acquire it. We still use vinyl for a number of our reviews, and the superb resolution of the Phono-1.5 will enable us to do our job better. There is more. For a number of months we have been telling readers that the war between DVD-Audio and SACD is headed for a nal conclusion, with SACD the almost certain winner (see How SACD Won the War in this issue). Didnt that mean we would nally need an SACD player ourselves? Sure, but the acquisitions budget was a little lean, and we wondered whether we could economize a bit. Perhaps we could say that whatever we bought was an interim reference, with a denitive one to come later as the state of the art advances. We had done that nearly two decades ago with Compact Disc (a Teac was our rst purchase, with a Spectral player arriving later). Hah! Linns Unidisk 1.1 player was scheduled for this issue, and just over 24 hours after we unpacked our sample, we knew we could make no other choice. Some manufacturers will say we were wrong not to wait, and we should have bought their player. They will have their chance to demonstrate what chumps we are, because we now have a great point of comparison. And theres one more change. We have long used a Simaudio Moon W-5 amplier in our Omega system. Weve heard for ourselves the improvements Simaudio has made to its agship amp, and we were thinking that possibly we should get one of the new ones, perhaps not right away, but Then came an opportunity. Simaudio announced the W-5LE, a premium limited edition version numbered from 001 to 250. We will be using number 016 in all future tests. Its reviewed in this issue. By the way, our colleague Albert has long used a W-5 that was among the rst ones made. He now listens through number 024.

Finallya price rise I may as well let you know in advance. A single issue of UHF has cost $4.99 for a long time (and for years before that it was $4.95dont ask!). In early 2005, the price will rise. That means the price of a subscription will go up too. But with the cost of both paper and postage rising soi sharply, theres no choice. All I can promise you is value. I hope youll agree.

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DOG-EARS ARE FOR DOGS!Some audiophiles snap up every single issue of UHF, yet they hesitate to subscribe. Why? Theyre afraid of getting copies that are dog-eared and torn. So heres a strange fact: dog-eared copies may be awaiting them at the local newsstand. It makes sense if you think about it. Where do copies sit around unprotected? On the newsstand. Where do other people leaf through them before you arrive? At the newsstand. Where do they stick on little labels you cant even peel off? Surprise! At a lot of newsstands, they do exactly that! What you want is a perfect copy. And the perfect copy is the one in your mailbox. No tears or bends, because each issue is protected by a sealed plastic envelope. With the address label on the envelope, not on the magazine. Of course, youll have to make a certain sacrifice. Are you willing to pay, oh, maybe 23% less for the privilege of having a perfect copy? And be protected (for a while) against the coming price rise? And are you willing to qualify for a discount on one or both of our original books on hi-fi (see the offer on the other side of this page)? You are? Then perhaps the time has come. JUST SUBSCRIBE

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Feedback

I have been an avid subscriber to UHF since 1993 (the issue had a review of the Castle Chester and Totem Model One), and I have enjoyed every bit of your magazine. Now that you have a home theatre setup, why not review more home the-atre speakers, speci cally those offered by Axiom Audio? Your readers might bene t from such a review of this Cana-dian speaker company for two reasons: 1) They are a Canadian company, eh! 2) Being mail order, if the sound of these speakers are any good, readers who have limited budget but would like to go home theatre can get there without breaking the bank.

Renante BarrogaST-LAURENT, QC

I was hoping, and I am sure many readers are as well, that when you test the iPod in the next issue, that you will also try out the new lossless compression offered by iTunes version 4.5. Sounds interesting. Just a thought.

Paul HirvinenTHUNDER BAY, ON

Apple lent us an iPod for only one month, and it was shipped back two days before Apple announced its lossless compression. That would double the iPods capacity.

I just bought an iPod and have been extremely impressed by its ease of opera-tion and versatility. I havent assessed its overall sound quality yet, and I will be very interested in your coming review from that perspective. The one thing that really infuriates me, though, is that we Canadians cant download from the iTunes music store. Can you address in your article when (if?) we will ever be able to use the iTunes download facility? Are there other alternatives, with a broad sampling of artists, that are legal in Canada?

If not, perhaps you could provide a CRTC contact address so we can all send letters asking why Americans can download songs from Canadian artists, who permit their music to be down-loaded, but we cannot. I just cant believe the CRTC can be so pig-headed about universal access to music. (Perhaps you could offer advice on the best way to secure a US credit card and mailing address!)

Craig McDougallCALGARY, AB

The CRTC has no jurisdiction in this, Craig. The problem seems to be getting the many worldwide divisions of the big record companies, many of which appear to have a pathological death wish, on side. We would add that we have trouble getting excited over the possibility of paying a buck for a single song with nine tenths of the information missing. We would like to see Apple offering the alternative of full-resolution download-ing. One record company, Magnatunes (www.magnatunes.com) already does.

I eagerly await your review of the Apple iPod. I have been looking in various stores for a chance to audition one myself, but only computer stores seem to carry them. They escort you to their iPod display and allow you to listen to their MP3 files through powered computer speakers no thanks! I need to listen to WAV les that are well done through a good audio system. I produce a lot of WAV les from LPs and tapes, which I usually edit with small amount of EQ, band extrapolation and/or normalizing before burning them to CD. Rather than run 40 feet of interconnect from my computer to the main listening room for auditioning, I have been burning trial and error CDs in order to come up with my nal mix. I know for certain that over the last two years I have scrapped over 50

such CDs. The iPod seems to be a good alternative to this wasteful method, and even though it may not pay for itself in saved CD blanks it should be a lot more convenient. But like you, I need to know what it sounds like before I decide. Feeding the analog signal through a mini jack is one of my concerns. Another is the quality of its analog playback circuit. I imagine that it is just ne for background music, but most of my music from LPs will be for dedicated listening and I want to make sure I get it right. The iPod has to give me the same quality I get from my main CD playback system. Perhaps I am expecting too much.

Lloyd MarshallEDSON, AB

Well, you can check our ndings in this issue, Lloyd. The quality of what you hear will depend not only on the iPod but also on the quality of the A/D converter in your computer. In some cases it can be surpris-ingly good.

I have been reading your magazine for about two years now, and have yet to see a better one. I live in the US, and sadly there is no stereo magazine here (or even in the UK, for I do read some of them) that can even come close to yours. 1) In UHF No. 68, you wrote an arti-cle on testing several different speaker cables, and I think you mentioned something like the Nordost Valhalla is close to the Wireworld Eclipse. Is this correct? This cable costs around ve times the price of the Eclipse, but on the other hand I believe in your judgement. Does this mean Nordost spend too much on advertising? 2) Have you, or will you ever, review the following components: Simaudio Moon I-5 Limited Edition, JMLab Micro Utopia BE, YBA Intgr Passion, Naim CDS3, and NAIT5i/CD5i? 3) Will you ever compile all the tech-nical articles (like the ones about power, acoustics, stereo sound, etc), and also all the music articles by Reine? These would be an excellent addition to your collection of highly valuable books you have published so far.

Ernes HoSAN JOSE, CA

FeedbackBox 65085, Place Longueuil

Longueuil, Qubec, Canada J4K [email protected]


Feed

back

Note that our evaluation was based on Wireworlds own Comparator Disc, not on a side-by-side comparison. The YBA Intgr Passion was on the cover of issue No. 64. As for the books, Reine says she appreci-ates the request!

Even if I hadnt been trying to make myself useful in the Charisma room much of the time this year, I would still have missed a lot of the Montreal show. You lled it in for me. Thanks a million for the terri c online report. Bravo for doing it in the rst place, bravo for posting PDQ, bravo for the great pics, bravo for making it all read-able and accessible even for relative audio novices. Another triumph.

Toby EarpMONTRAL, QC

A f ter read i ng t he Mont rea l Show report, I would like to clarify information concerning Synthesis products (page http://www.uhfmag.com/Montreal2004/day3.html ) I believe its an Italian company rather than a German one.

Jacek RymutPoland

Quite right. Glad youre keeping an eye on us!

Please nd my renewal cheque for 13 more issues. While other magazines are interesting in their own particular ways, yours is the one that never ceases to entertain. Even my wife (who loves her music too) is getting into it: Anything from those guys in Montreal today? is a familiar refrain around our house after checking the mailbox every day. While I understand their angst, I have to chuckle over the legion of readers who would gladly sacri ce some of your precious sleep for more frequent issues. That would remove one of the things that make you who you are (and, I feel, one aspect of your success). Different doesnt quite explain it, and I hesitate to use the word quirky, but theres some-thing to be said for a littleall right, unpredictable quirkiness. The anticipa-tion of an upcoming issues arrival is similar in some ways to the search for a new equipment upgrade, the hunting and

waiting is sometimes just as rewarding as the getting. Regular monthly publishing would remove some of that quirkiness and hence, some of the fun of your magazine. And isnt it supposed to be fun?

Keith FergusonVICTORIA, BC

I dont understand your frequency response graphs for speakers. They seem very strange to me in that the uctua-tions are tremendous. For example the Reference 3A De Capo-i: according to your plot, there is a 5 dB dip around 70 Hz and another 5 dB dip at approxi-mately. 5000 Hz. These plots do not at all correspond to what I am used to seeing in other publications. I am assuming that your test condi-tions differ form other testers. However, the results plotted on your frequency response graphs are so jagged that I do not see how one could learn much about the speakers quality. I should point out that my technical knowledge of audio phenomena and elec-tronics is very limited. I am stating this from the strict point of view of an audio consumer (de nition of an audiophile?) who is accustomed to looking at graphs without understanding the underlying concepts.

Andr NickellBEACONSFIELD, QC

We have some misgivings about them too, Andr. At one time we stuck to text descriptions of frequency response. Later, we began using graphed versions of the results, and just recently we have been using actual instruments graphs. These graphs are the literal truth, and in a real room a speaker really will have these variations. Earlier graphs may have been more helpful, however, because each frequency point showed the aver-age response over a third of an octave, thus smoothing out the chaotic variations. There is no standardized method for measuring speaker response, and manufac-turers mostly select a method that will show speakers in their best light. Thats not what we do, but we have perhaps gone too far the other way.

After years of reading UHF, and being an octogenarian (with hearing

better than that of most 35-year olds) I had better speak up before it is too late! Reine, your contributions to UHF add a touch of class and humanity to a ne technical (though at times occult) periodical. I particularly enjoy your articles on various humanistic subjects. The Music Critics (UHF No. 69) brought to mind a couple of my favorite critical jibes. Referring to a rather heavy-duty Mimi, Shaw remarked that Mimi appeared to suffer not so much from consumption as from overconsump-tion. After the rst performance of the brahms Fourth, a critic (his name escapes me) remarked, It is certainly no joke that this dead tired symphony should have to run the gauntlet of four move-ments. I wonder why I tend to associate Brahms is it his distinctively close string harmony? with Victorian drawing rooms cloaked in heavy, deep brown velvet drapes, aspidistras and mantelpieces edged with hanging (again, brown velvet) bobbles. Maybe I once saw a picture of him in such a setting. Tell the boys I can explain electrical phenomena, but I never had much faith in the occult. Keep them earthbound.

Roy A. WoodlandBARRIE, ON

P.S. You will note that this comes to you by e-mail (envelope mail, that is).

Some 15 years after giving them up, I recently renewed my subscription to Car and Driver. To my amazement, I found their test drives now include a very short summary which takes the form of Highs, Lows and Verdict, besides a separate column called Counterpoint!! The latter presents the alternate opinion of three columnists! Say, who started it f irst, you or them?

J-P LtourneauCAP ROUGE, QC

Them. We have yet to borrow an idea from another audio magazine, but we do steal regularly from other magazines past and present that we consider outstanding in their respective elds. Car and Driver is one of them.

13 more issues. While other magazines are interesting in their own particular ways, yours is the one that never ceases to entertain. Even my wife (who loves her music too) is getting into it: Anything from those guys in Montreal today? is a familiar refrain around our house after checking the mailbox every day. While I understand their angst, I have to chuckle over the legion of readers who would gladly sacri ce some of your precious sleep for more frequent issues. That would remove one of the things that make you who you are (and, I feel, one aspect of your success). Different doesnt quite explain it, and I hesitate to use the word quirky, but theres some-

We have some misgivings about them We have some misgivings about them too, Andr. At one time we stuck to text too, Andr. At one time we stuck to text descriptions of frequency response. Later, we began using graphed versions of the results, and just recently we have been using actual instruments graphs. These graphs are the literal truth, and in a real room a speaker really will have these variations. Earlier graphs may have been more helpful, however, because each frequency point showed the aver-age response over a third of an octave, thus smoothing out the chaotic variations. There is no standardized method for measuring speaker response, and manufac-turers mostly select a method that will show speakers in their best light. Thats not what

by e-mail (envelope mail, that is).

Some 15 years after giving them up, I recently renewed my subscription to Car and Driver. To my amazement, I found their test drives now include a very short summary which takes the form of Highs, Lows and Verdict, besides a separate column called Counterpoint!! The latter presents the alternate opinion of three columnists! Say, who started it f irst, you or them?

J-P LtourneauCAP ROUGE, QC

Them. We have yet to borrow an idea Them. We have yet to borrow an idea

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waiting for y

ou

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Free Advice

I am having a hard time getting an unbiased and straight answer and hope you can help. I am searching for a new CD player, and I am still on the fence about SACD. Currently I have the MSB Link III DAC and will be getting the upsampling board. What will I get by spending more money on a CD player that the DAC does not correct or improve? The rest of my system is the Jolida 502a integrated amp and Triangle Titus 202 speakers. So you can tell I am on a budget and would really like to save on the CD player.

Jerry KottomGARVIN, MN

It sounds to us as though youll really want to plan ahead, Jerry. Weve also been on the fence about SACD, because the war of standards reminded us and everyone else of the battle between Beta and VHS. But we now think SACD is the VHS of the new drama, and if thats so youll want an SACD player sooner or later. We can say right off that we are not sold on upsampling, which cant truly add to the resolution of a record-ing, though it can easily muck up what is already there. You didnt mention what transport you are using with your MSB converter, but if the combination is working quite well you may want to take the money for the upsampling card and put it into an SACD fund. There are SACD players that can do wonders with conventional CDs as well (see our review of the Shanling player in this issue), but they are not legion, and they are not cheap. Our advice on this may yet change (and we hope it does), but its possible that youll want to make room for your CD player even after the new super player arrives.

I realize I have written to you guys recently, but I dont know who else can

answer my question reliably. My system consists of a Linn Sondek/Syrinx/Supex 900 Super and an Alchemist Nexus (brought to my attention thanks to your review) into a Rotel 980BX preampli- er. My ampli er is by a local manufacturer, an EL34-based amp I consider to be a good value at $1300. My speakers are heavily-modi ed Mission 770s. The places I feel my system is lacking are bass extension (it bothers me but I live in a basement apartment, so I cant go nuts), imaging ( I believe my room is at fault, as Ive heard these speakers throw up a nice image in a different room and system), and, most troubling, the fact that while most music sounds satisfying, massed violins sound shrill and dry, especially from the turntable. I suspect the main culprits to be the cartridge and preampli er, so Ive purchased a Benz Micro MC Gold, but havent yet installed it. (I am thinking of reselling it to buy something with a line contact stylus.) 1) Do you think the Benz Micro is a step in the right direction? 2) Where should my next thousand bucks go? These problems are quite troubling for me, and have usurped my signi cant other as my primary focus in life. Please help me with my troubles and let me go back to being the happy-go-lucky gent milady was so taken with all those years ago!!

Perry HowellTHORNHILL, ON

We rush to the rescue, Perry! The Benz Micro may be a good choice, though as you note it doesnt have a line contact stylus. Certainly your Supex is old enough to tell stories of days gone by to its grandchildren. However the symptoms youve noted insuf- cient bass and shrill, dry top end are the typical result of an arm that is adjusted too high, so that the vertical tracking angle of the cartridge is exces-

sive. That means the cartridge is canted forward too much. It should be canted forward slightly, because most LPs are cut at an angle of 20 to 22 degrees, not the 15 degrees theyre supposed to be cut at. Too small an angle makes the bass loose and tubby, and the treble murky. An error in either direction mucks up the focus, too. We recommend setting this up by ear, using a pure stereo audiophile LP, such as those of Opus 3 or Proprius. Go for best focus on one of these, and youll have a good average setting for all LPs. Your other problems will be solved at the same time. Our compliments to milady. May your castle be lled with good music.

I am new to high end hi- and would like to buy a tube ampli er. I have listened to the Jadis Orchestra Reference integrated tube ampli er with Jadis Orchestra speakers. I would like to receive your advice for matching speakers to the Jadis Orchestra Reference, and if you have any comments on the Jadis speakers also. Please also comment about the tone controls in the amplif ier. As you may know, now they have the Lux version of the same ampli er in Canada without the tone controls. Which one would you suggest?

Semih AlsaidISTANBUL, Turkey

We are not fond of tone controls. We all have recordings that can use a little tonal adjustment, but the chances that the correction from tone controls will exactly compensate for a recording problem are remote indeed. Whats more, tone controls take away from performance even when they are set to neutral. An ampli er without them is to be preferred. Jadis loudspeakers are not distributed in North America, and we have never heard them. The Jadis ampli er, which we reviewed in UHF No. 58, will work well with most loudspeakers of reason-able sensitivity, say 89 dB or more. We dont know what speakers are available in Istanbul, of course. Among possible brands you could listen to are Epos, Linn, Spendor, Naim, Ruark, Thiel, Vandersteen, Piega, Epos and Totem. Those are only a start.

Box 65085, Place LongueuilLongueuil, Qubec, Canada J4K 5J4

[email protected]

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From your experience with CDs, is there a particular label (FIM, Audioquest, Chesky, etc.) or CD format ( XRCD, XRCD2, HDCD, SACD, Hybrid SACD, DVD-A) that excels from the Red Book CD or LP records? Do CDs recorded in digital (DDD) sound better than those recorded in analog (ADD or AAD), or are these a matter of quality in the mastering process? If a disc has been transferred to SACD from an analog recording, how is this superior to an LP?

Jerome ChiongloMARKHAM, ON

SACD is de nitely more than a mar-keting tool, Jerome. Or at least it is when the original recording was made with something more than 16 bits and 44,100 samples per second. We mention this because some mainstream labels have re-released Red Book CDs as SACDs by the simple expedient of upsamplingmaking up new data and charging you extra for it. And we thought Enron and Worldcom were isolated instances! Though DVD-A is also way superior

to Red Book CD, we believe that SACD has won the war. Pretty much all recent SACDs are hybrid, with a Red Book layer readable by conventional CD players. The presence of that layer doesnt seem to harm anything. Any SACD player will let you hear the increased dynamics and liveliness of well-recorded discs, but getting full musical satisfaction means picking your player carefullyand, alas, paying way more than the minimum cost. It is a (fairly) well kept secret that a lot of music producers long ago returned to analog recording for their masters, believing that analog, at the very least, wouldnt leave them with a pounding headache after a long days work. An SACD made from an analog original can sound better than the LP because it wont have the well-known (and acknowledged) defects inherent in cutting and playing back an analog record. Which leaves the question of what we call transitional technologies, such as HDCD and XRCD. Both were

intended to tide us over the sometimes painful age of CD by maximizing the medium, and in the former case sneak-ing extra information past the mediums limited resolution. We like them both, and we are especially fond of HDCD. However that technology now belongs to Microsoft, not traditionally known as a high end audio champion. The future is spelled S-A-C-D.

Here is one that I am sure youve been asked before: the lifespan of a laser. We know that a cartridges stylus can last for a very long time if it is properly aligned and kept free of debris. The trouble with cartridges is that the metal ( forgot the term) where the stylus is mounted can become weak with time. I need to know the approximate lifes-pan of a laser on a good quality machine like a Karrik. In the past we kept hearing numbers like typically 1000 hours, but shouldnt the same principle from cartridges apply to lasers as well?

Nick LakoumentasMONTRAL, QC

Yes, weve been asked that before, Nick, but it was a long time ago, and the answer has changed. In the early days of digital, the esti-mate was that a laser pickup might have a life of 2000 hours, which meant an expensive repair after playing less than a couple of thousand discs. In slightly later mass market machines it could mean a new player, since pickup were often glued in place permanently. We dont know whether that was a good estimate, since in many a player the mechanism will fail before the laser does. Weve seen estimates of as much as 20,000 hours, which we presume is a guess (though it sounds more convincing than saying really, really, really long). In practice, the lifespan may depend in part on how hot the laser is run. The laser in a car player may run quite hot, since it must perform under dif cult conditions, whereas a high end player may have its pickup set up for longer life. Phono pickups also used to be rated at an estimated lifespan of 2000 hours, meaning that it would take that much play to cause perceptible wear of the diamond stylus. Modern stylii have a


much longer life. The resilient mount of the cantilever, which may be rubber or some synthetic material, can harden with age, however. Metal fatigue (the word you were searching for) can cause the cantilever to break, too, but in practice most stylii are wiped out by accidents long before they can wear out.

As you know computers can record music on data CDs, though in my experience even recent high-quality burners dont give good results, and their copies are very easy to distinguish from the originals. Thats why an audiophile friend and I have acquired audio recorders. Mine is a simple one-drawer Pioneer that works only with special music CDs, but my friend has an Alexis Master-link with hard disc, which can also use data CDs. Weve been looking for CD blanks that can give superior sound, and the results were a surprise. First, the quality differences among brands is huge. Any computer experts who can explain this are welcome! But the greatest surprise is that data CDs in general give better results than music CDs on either recorder (the single exception is the Pioneer high end music CD). Can you explain why? Well accept paying more for music CDs because sonic quality is important for us, but what we get is inferior quality. If the music industry is faced with piracy, Im starting to think its not entirely undeserved. I was also surprised to discover that, on my Pioneer, the only way I can make a truly identical copy is to copy itin the analog domain!!! I attribute this anomaly to the fact that the digital coaxial link between my Audio Research transport and my Pioneer recorder must introduce some audible jitter. The quality of my tube DAC may also be a factor, and it seems to indicate that the Pioneers analog-to-digital converter must be of good quality. Could you give me some advice on the way to improve domestic production of Compact Discs? My Pioneer was purchased used, and the dealer refuses to deactivate the protection against data CDs.

Jean-Pierre LtourneauQUEBEC CITY, QC

Theoretically at least, he could be held legally responsible for having bypassed an anti-piracy measure. We use quotation marks, because, though

the law on this matter is clear in such countries as the United States, it isnt in Canada. The Canadian government has signed the international treaty on intel-lectual property, but it has not rati ed it, much less changed its copyright laws accordingly. Unfortunately we dont have a de ni-tive conclusion to offer. Our experiences with our own computers (three Macs: a G4, a G5 and an iBook) yielded excel-lent results, with copies we could not distinguish from the originals even on

our reference systems. However some of our readers have reported much less happy results with Windows PCs, as did another reader with a Macintosh G4 substantially identical to one of our machines. Jitter is certainly a factor, as is prob-ably your digital cable, but there is more. The characteristics of different CD-R brands can affect jitter. Speci cally, with certain discs the data pits burned into the substrate wont be precise, which means the player will have dif culty

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determining the exact start of the pit. Some players, indeed, may do better than others. Some players cant read CD-Rs at all, and it is easy to suppose that some others will do so less than perfectly.

We ourselves had had excellent results with both TDK and Maxell discs. The worst are CD-RWs. If its any consolation, commercial pressing of CDs is not problem-free either. Ask any music producer whether the CD he gets back from the plant sounds exactly like the original master tape. Hell laugh. Or perhaps not.

I have loved music since I can remember. I have subscribed to UHF almost since its inception, and I am trying to put together a music system. My modest budget and gear currently consists of: SOTA Sapphire turntable, Syrinx PU3 tone arm (with upgraded wiring), Clearaudio Virtuoso Wood MM cartridge, Rega EOS phono stage, Vecteur Club 10 amp, Totem Tabu speakers, Wireworld Atlantis speaker cable and Eclipse 3 intercon-nects, Inouye powerline conditioner, and a Gutwire cord for the phono stage. I listen to a lot of live music at work, and I have spent quite a bit of time trying to put together a system which will let me enjoy this kind of faithful reproduction at home. I purchased the amp, speakers, and phono stage used without hearing them, trusting to favorable reviews by you. Dont get me wrong, I have all the faith in the world in your opinions; after all, believable music reproduction is what youve always been about. I believe the fault obviously

lies somewhere within (my system, not my head). I have continuously read in your maga-zine that this ideal is de nitely possible, but so far the experience has eluded me. I listen to the electronic signals, and they sound reason-ably detailed, semi-rhythmic, and somewhat dynamic, but, unfortunately, not believable. Im at a loss! Please tell me the most logical way to determine what the problem is. I thought that, with this caliber of equipment, I would be able to recreate a reasonably good facsimile of real instruments and voice. I close my eyes, listen, wish really hard, but all I get is major disappointment and more spam. Do you sell anti-depressants and/or ghetto blasters at the Audiophile Store? Both are becoming more and more attractive alternatives.

Clay PalfenierBURNABY, BC

Oh, we think we can suggest consid-erably better than either boomboxes or Prozac, Clay, which doesnt necessarily mean we can give you a quick answer on something obvious you may have overlooked. Our rst observation is that at least youre working from the right point of comparison: live music. Thats better than any reference system, but the down side is that youre difficult to please, and you wont easily settle for a poor imitation. We suggest rst looking at the source, not because your source is poor, but because you have only a single one. If you also had a quality CD player or a good tuner, we would ask whether alternative sources also fail to please. What we would do first, then, is double-check every possible turntable-related setting: suspension tuning (a little time-consuming on the SOTA), lubrication, belt condition, leveling, lateral cartridge alignment, correct arm height (this is often way wrong) and anti-skating setting. We ourselves go down this check list once a yearmore often if we hear anything we dont like. Some of this sounds like spring cleaning, and in fact some years ago we published an article on spring cleaning for music sys-tems. It included cleaning and tightening all of the connections, and straightening out the rats nest that the back of a system can quickly become.

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We would then attack the other end. No, not the speakers but the acoustics. Most rooms are nowhere near optimized for music, of course, and thats a major barrier to the enjoyment of what should sound like live music. What we usually suggest is to start with different speaker placements, remembering that even small changes can make surprisingly large sonic differences. To this we will add a tip we may never have given before. You can minimize the in uence of the room boundaries on the sound of your system by sitting close to the speakers. Of course that will mean doing more than merely sliding your chair forward. Youll need to place the speakers closer together, toed-in slightly, as far as possible from any room bound-aries, and sit close. Sound engineers call this near eld listening, and even studio control rooms with supposedly optimized acoustics mostly have a pair of small speakers placed right on the mixing console for exactly that reason. We dont mean to suggest that this is how you should run your system from now on, though really toxic acoustics

might require it. For one thing, near eld listening is not quite natural, more like listening through headphones. It will, however, allow you to hear what your system sounds like when the room is not serving as the principal intermediary. If a serious system-based problem remains, youll actually hear it more clearly than ever, and you can then go about solving it. If you nd yourself wishing the system sounded like that all the time, you will then have a point of comparison as you search for a definitive placement, or you make other changes to the room acoustics.

My present system consists of the Marantz CD17KIS, Krell KAV400xi ampli er and the Thiel CS1.5 speakers. I think the weak-est link is the CD player, which I intend to replace sometime soon. I nd that the sound-stage images it projects are not palpable and precise enough. I am looking in the direction of the new Meridian G08 or G07. I have also read that a good CD player with a rich tonality gives more palpable imaging. Any advice or suggestions would

be appreciated. John Tiong

SIBU, SARAWAK, Malaysia

Youre absolutely right that you can get better imaging with a superior CD player, John, and you can get a lot more besides. If you choose right, youll also get smoother highs, more solid lows, better transparency (in the sense that you can hear soft sounds even when louder ones are playing), and a better rendition of both rhythm and melody. Those last two surprise many people, who assume that rhythm and melody are so basic that any player can get them right. We wish that were true. There are a number of relatively affordable players today which can deliver what youre looking for. One of the Meridians may be the right choice. The G07 and G08, neither of which we have heard, appear to be substan-tially identical except that the G08 has the ability to upsample CDs to 24 bit/96 kHz resolution. We wouldnt pay a lot extra for that feature.

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I am new to hi- , and some help in choosing an integrated amp will be helpful. Im planning on purchasing a pair of Totem Forest speakers, but I dont know what amp will go well with them. I can only spend about $4500, and Im willing to buy a used amp.

Paul BrookbanksBOWMANVILLE, ON

Paul, the Forests are not as ef cient as many speakers of recent vintage, because Totem doesnt follow marketing trends much, but nor are they dif cult to drive. A well-designed ampli er with at least 50 watts per channel can handle them just ne. On the other hand the Totems are revealing, and youll want an amp that doesnt make you cringe on dif cult passages. Weve reviewed a number of quality integrated ampli ers in your price range in the last while. You might want to listen to the Vecteur I-6.2, the Simaudio Moon I-3, the Roksan Caspian and the YBA Intgr DT, to mention only a few. You may want to check out tube amps too.

I am ready to start upgrading my system, and I will be starting at the source (that

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much I know). I would like to spend no more than C$1000 on a CD player. I know you recommend the Cambridge D500 player as the best low-cost unit, followed by Rotels and Regas higher up the price scale. My short list includes the Cambridge D500SE and the Azur 640C, the Rotel RCD-02 and the new RCD-1072. I am also interested in the Shanling CD-S100 MkII. The Rega Planet 2000 is a possibility, but I believe it is out of my price range. I like the fact that both the Rotels have HDCD decoding, but since most of my discs are not HDCD-encoded, would an upsampling player be more bene cial? Some of the above players tote a 24 bit Delta-Sigma DAC. Does this mean that they upsample to 96/192 kHz?

Tim LeeneyGEORGETOWN, ON

They may be upsampling to 24 bits and 96 kHz, Tim, and a number of new players offer such upsampling as a feature. It is just that a feature, not a promise of better quality. The presence of a 24-bit chip makes such upsampling possible, of course,

but its there in the main because thats the size chip the big manufacturers are making now. And if you had one in a player you built, you wouldnt be shy about saying so, would you? Nor would we. Now to speci c advice, or at least as speci c as we can get under the circum-stances. We havent seen or heard the Shanling you mention, though we have heard more expensive Shanlings. Nor have we heard the Azur player, which comes from Cambridges new series, though weve had a look inside one. It looks promising, and we hope to get our hands on one soon. Perhaps you can ask a dealer to let you hear one alongside the D500. Pick some recordings you know and love, take notes, and be sure to listen to the music and not just the sound.

With my Bryston 3BSST/BP-25P and B&W Nautilus 803 system, I am using: an Oracle Delphi MkIV with MkV Record Clamp and MkV Turbo Power Supply with Cardas Golden Reference cord; Alphason Xenon MCS arm with Ortofon 540. I want to upgrade arm/cartridge to

something more wholesome, but accurate, nothing strident. I was considering a new Rega RB700 (maybe an RB1000, but thats overkill) with a Clearaudio Virtuoso Wood MM cartridge. What do you think?

David ChirkoSUDBURY, ON

We would hesitate to change the arm, David, unless we were going forwell, perhaps overkill is the right word. The Alphason Xenon was a somewhat simpli- ed version of the celebrated HR-100S we still use in one of our reference systems. On the other hand, replacing the Ortofon is certainly a good plan. Is the Clearaudio the right choice? Though we admire what Clearaudio does in its top products, including its MC pickups, its moving magnet pickups have very high inductance if we go by the spec sheet. We would look elsewhere: Shure, Benz Micro, Grado, etc.

I have put together a pretty good sounding system using material from your magazine as reference. I was wondering if you would

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be doing another affordable phono stage (in the


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Nullam diat. Ipit pratet, sed tat vercin hent dolor iriustrud magnit prat. Gue mod tie eu facincil ent ad et wisis at alis alit wis ex eummod esto el eum quiscil dunt ipit, quisi. Ud tetum venis aut aut ad tem eugait iniat nulputatet, consequis ad ea feuguer-aessi exer ing etum duisit lumsandreet pratiscing esto eu faccccummod magnim zzrit lore eum zzrilla faccumm odigna feugiam, vel er sit autpat. Dui bla faccum do euismodolore magna faciduisl utat wis autpat, quat el dit wisit, sequat am iusci tionsequi tat, si. Ut wiscin henis eum irit, velessis adit ad et in exerilis augue modoloboreet wisi. Irit lum nulla feugiamcore minis alit lorerci llaore doleniam, vercilit il ut luptat la consed dipisi tio odionsequis exeraesed magna feuis adiam, conulla metuer inis dit velit, cor il utet, commy nosto coreet lor sustrud duissismod tate-tummy nulla facin etum verosto odignis acipsusto odolorper si. Mincillandre vel ipismod min eugiam volestis nos nim esto dit laor sim ad tat, cor in ut irit adit in vulla feummod olorem aut at. Putat nis augiat. Ugait nos augait velestie faciduis nummy nonsed del il enisisi sciduipsum alit atumsandit vullaor eratummy nim volessectet num el ut dolorero conullaore diatum iurem alit lumsan exerci blam, vercipisi blamet nummy nullut venis numsan henim doloreet nos ea adio ea aut ilis elit, sed erit praesto od tatinci tio eliqui tat. Aci elenim zzrit lorperat. Wis accummod doloreriure tat. Borem zzriuscipsum dionsenim zzriliq uamconulla consed dolor send-reros nostrud tet alis augiam dolummy nostrud mod modo exerius cillut vel duismod ming eros nullupt atismoleniam iusto consenisl dunt ullandre tat prat, quat. Henissi smoloboreet, sequatet lore core facilla ndiatum quatie vullutpatum alit ea corem doloreet laor sed tat in velit la core verat niam vulla faccum eros ent autat. Adigna facidunt nullamet, se delesti ncidunt prat, veliquis at. Ute digna augue delis nim volore tat. Ure corem velis adiam, sequisl euis augiam, quat non henim vel ullaorem er am nos nonsenis at aliquatuero.


Cinema

Has the cathode ray tube nally earned the right to a comfy retirement? In the

world of computers the answer is pretty much yes. Except for economy machines, or high end machines for graphics artists, new computers mostly come with liquid crys-tal displays. As the price of LCDs drops, its v i c -tory is l i k e l y to be complete. But video is another matter. Though most computer users favor bright-ness and (apparent) sharpness over all else, owners of home theatre systems are looking for much more. And new technologies some already here and others on the horizon will make the home theatre experience much more like watching a real movie. The cathode ray tube is a dif cult act to follow, though.

The CRT: still alive? Its a vacuum tube, of course, one of the very last ones to survive in mass-market consumer products. It still works very well because it is a mature technol-ogy. The CRT has been re ned to the point where it has been able to fend off a number of competitors. And rst in its list of advantages is price. Price is important, because TV sets have become a commodity. What we mean is that the choice is dictated far more by price and (to a lesser extent) features than by great technological advantages. However, the CRT has more than mere low cost to offer.

The most important of these is the range of brightness it can offer. If it were an audio com-ponent, we would call it dynamic range. A CRT can be very bright, but it must get very bright before it overloads and treats all brightness values the same. Of course the tube itself is not the only factor

determining the range of tones, but at its best it can

make more expen-s ive d i splay s

look washed out. A l o n g

with the wide brightness range comes a vast range of colors, and its easy to see why. If a display doesnt wash out in the bright scenes and doesnt get murky in dark scenes, it can present a wider gamut of colors. That means a CRT-equipped TV set has less need to translate a color it cant reproduce into one within its range. We dont want to overstate this point, because no display can come close to matching the range of colors visible to the human eyeor even to photographic lm. If the CRT is so good, why would we want to replace it? Unfortunately the CRT also has a long list of drawbacks. The tube is large, and especially deep, it is fragile, it is heavy, and like other vacuum tubes it eats up energy. It is ill-suited to TV sets bigger than 36 inches (mea-sured diagonally, about 91 cm). It is also

ill-suited to the widescreen sets that are now the norm in home theatre. Lets see why. A CRT is a big glass bottle, with an emitter of electrons in the neck at the rear. The face is coated with colored phosphor dots which glow when an elec-tron beam strikes them. A complex set of magnetic control devices sweeps the electron beam across the face, making the appropriate dots glow to make up the image.

The illustration shows an early CRT, with a neck much longer than the width of the screen. Those early CRTs were round, to avoid light falloff in the cor-ners, and even many modern CRTs have rather rounded corners. As manufactur-ers began making larger screens (a 21 tube used to be the big screen norm), they were reluctant to increase the tube depth in proportion. The short-neck tube was born, and as tubes got even wider, the necks got proportionately shorter yet. The modern CRT is likely to be something like this.

Notice that the electron beam going to the extreme edge of the screen is traveling a lot farther than the one

Can you buy the perfect video screen? Perhaps not yet

FutureScreens


Cine

ma

going dead centre. Worse, it strikes the screen surface at a angle, projecting an oval onto the screen surface rather than a circle. That means poor focus at the edges, worse in the corners. Thats why most TV screens have rounded surfaces. Expensive flat screens use electronic compensation to minimize problems. Even so, the CRT has a practical size limit. Its size was once adequate even for large rooms, because scanning lines looked crude on a bigger screen. As line doublers and sophisticated video proces-sors became common, screens grew. Not that the CRT has vanished from home theatre. Most rear projection sets still use a CRTthree of them in fact, one for each of the colors used for the image. Those tubes are turned up very bright, and projected onto the screen. They work well, though an RPTV needs careful alignment to make the three images converge exactly on the screen. Even so, they may not stay converged.

Plasmathe imperfect miracle Huge at screens that could be hung on the wall were a staple of science ction

years before they appeared. You may recall the wall TV sets in Fahrenheit 451, based on the Ray Bradbury novel. The plasma screen appeared to be the realiza-tion of that long-predicted technology. Indeed, its futurist look drew a lot of early adopters, at least ones with deep pockets. Prices have dropped dramati-cally, but they are still not cheap. Nor are they perfect. The plasma display is inherently at, because there is no scanning, as there is with CRTs. Each tiny module of the unit contains an inert gas trapped between two glass plates. At the rear is an electromagnetic exciter, which heats the gas so it emits ultraviolet energy. A phosphor coating on the front plate glows in the appropriate color. A plasma screen throws off a lot of light, and it is an eye magnet in high end stores. The drawbacks? Theres more than just the price. The gas takes a short but nite time to heat enough to glow, and some screens have dif culty following movement, which is why demos are mostly done with landscapes. Contrast ratios are poor, making for punchy images but little nuance. The screen may be thin, but it is heavy, fragile and energy-hungry, and hot And, oh yes, it has a nite life. So do CRTs, but they dont cost as much. Tossing out a burned out plasma screen can make you cry, and you may replace it long before it goes dark, because it is prone to burn-in: the pixels most used will darken rst. Ouch!

Liquid crystals The rst LCDs showed up over a quarter century ago in pocket calcula-tors. An LCD is a diode with an intrigu-ing property: apply a voltage to it, and it will darken. Thats how LCD elements can form the digits on your calculator or your watch. On a video or computer screen they are used differently. Tiny LCDs are placed behind a colored lter, and depending on its voltage state it will be transparent, letting light through, or opaque. A large uorescent bulb and diffuser behind the LCD lattice light up the resulting image. LCD screens are turning up on a lot of computers, as already noted, but also

on TV sets. They are costly, but they are light and they use little energy, which is perfect for laptop computers. They require no convergence adjustments There is no burn-in effect, and changing a bulb is potentially cheap, though some displays have bulbs that are astoundingly expensive. Check before buying. You should know that LCDs have their own problems. You can pay $700 for a display not much larger than a magazine cover. Like plasmas they can be slow to react. They can suffer from stuck pixels, jammed either on or off, and that may not be covered by the warranty unless there are lots of them. Colors shift as you move off axis. LCD images can look crude at close or medium quarters, because the individual crystals are clearly visible. And the LCD panel has one other drawback seldom mentioned: the range of colors is narrow. The color gamut chart is misleading, even so, because the uorescent bulb used as backlighting does not emit a continuous spectrum. Use a prism to see the uorescent spec-trum, and youll see a series of discrete lines rather than a full rainbow. Add to that the fact that LCDs have trouble with deep blacks. Note that some manufacturers, notably Sony, now make rear projection TVs using LCDs rather than CRTs. Our judgement stands.

Digital Light Processing The DLP is an invention of Texas Instruments, a one-time electronics powerhouse that hadnt done anything this original in years. The heart of the DLP is a tiny mirror controlled electronically so it either re ects light toward the lens, or else into a light sink, a black absorbent surface. Early DLP projectors had blacks that were closer to grey, but the rest of the spectrum was superb, with bright,natural colors, no burn-in, and a long lifespan. Replacement bulbs are inexpensive and are user-installable. Perfection? As with plasma, the cost was some-thing of an obstacle, running into the tens of thousands of dollars. The tiny DLP modules would surely come down in cost, but in the meantime there was a trick that could drop the cost by two-

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thirds: use one module for all three colors. This is done by placing a colored wheel in front of the light source, with movements perfectly synchronized with the electronic circuits. As the wheel rotates, it projects a red image, then a green image, then a blue image. Thanks to the eyes persistence of vision the same phenomenon that lets us see a 24 frame per second lm as a continuous moving picture the three colored images blend into a single color image. But not for everyone. Some people have poor persistence of vision (it is they who gave movies their British nickname, icks), and indeed we all have poor persistence of vision near the outer edges of the retina. Fortunately, the DLP has been improving. The colored wheel now turns much faster than it once did, as fast as 9000 rpm. And the color chips are repeated twice, thus doubling the rate of change. The eliminates the color icker for nearly everyone, though you should check for yourself before buying. Early DLPs were found in front projectors, the rst to be compact and lightweight, except for the crude LCD projectors. The DLP has now found its way into rear projection sets. They are already excellent, and there is reason to hope this still-young technology will continue to evolve.

D-ILA This largely unfamiliar acronym stands for Digital Direct Drive Image Light Ampli er. This is JVCs variant on LCOS, which stands for Liquid Crystal on Silicon. You may already have seen such a display, because D-ILA is used in giant high-res screens at such venues as sports stadiums. That gives you a clue as to its major drawback: only Major League Baseball can afford one. The silicon referred to is the mate-rial used for the substrates of transistors and diodes. Each LCOS module the size of a single pixel has its own driver circuitry behind it, where it is out of the way. It is then possible to bounce the light off the crystal instead of through it. LCOS pixels have extremely high re ectivity, and the brightness of the screen is then dependent on the size of the bulb. Powerful xenon bulbs can

throw a lot of light even into a stadium, a large convention centre, or a Vegas casino sign. Brightness is not the whole advan-tage, we should add. Weve mentioned that conventional LCD screens have pixels that are all too visible. An LCOS screen has a much ner grid, and looks to the human eye like a continuous seam-less lmlike image. The D-ILA response curve is not truly linear, but its natural shape makes it possible to get blacks that are very dark. You cannot for the moment buy an LCOS for your home theatre system, JVC will shortly release home-sized D-ILA screens We rather expect that they will be expensive enough that Bill Gates and Warren Buffett will be the major customers, but there is reason to think prices will drop quickly.

Organic Light Emitting Diodes Its no secret that Kodak is nding the 21st Century rough, as more consumers and even pros shelve lm cameras in favor of digital. Kodak didnt see that coming and came late to the party, but the company showed lack of vision another way. It was in 1979 that Kodak engineers discovered a tiny but interesting semi-conductor that emitted an extraordi-narily bright light when an electrical voltage was applied to it. Unlike the familiar LED used as a power indicator on nearly all electronic equipment, the OLED is not a crystal, and therefore it can be made both small and inexpensive.It wasnt until eight years later that Kodak nally patented the device, and a dozen years after that it realized this might have an application. The OLED has a long list of advan-tages. It is simple to implement, because the driver circuit is built right into each diode. Despite the brightness, the screen draws little current, making it a natural for digital cameras (Kodak already offers one), mobile phones and laptop or handheld computers. The diode reacts extremely quickly, making it suitable for following action. Viewing angle is wide. The color range is excellent. Could it work for a video display? Though it is now used to make very tiny screens, Kodak has given us a

demonstration of a lm on a prototype 15-inch screen. The quality was extraor-dinary. It will be a couple of years before screens like the one we saw appear on the market, and longer yet before TV-sized panels are made commercially. Both Sanyo and Sony are working on these products, however. Between now and then, Kodak will need to get caught up on its research. Like the LCD, the OLED does not have the blackest of blacks. Worse, the screen life may be adequate for a camera, but possibly not for a video screen. Weve seen widely contradictory reports on this, we should add. The OLED is exciting enough to have triggered some blue-sky specula-tion. Because these organic diodes can be laid down onto any sort of substrate, including metal foil or textile, it may be possible to have a big-screen TV that rolls up, like a projection screen. Or a tee shirt with a video display right on the sleeve. Lets hope the possibilities compen-sate the company for declining sales of Kodacolor!


Nut

s&Bo

lts

Dont you love technology bat-tles? Should you buy a Palm handheld or a PocketPC? Should you pick a PC or a

Mac? Should you go for Beta or VHS? In the latter case, of course, even technophobes know the answer. We also know the outcome of the cassette vs 8-track rivalry, not that it matters so much anymore. And we know that consumers who guessed wrong got little sympathy from the merchandisers of failed standards. Of course, there have always been alternatives to the clear knockout of the Beta/VHS battle. Half a cen-tury ago, when RCA launched its 45 rpm discs against Columbias microgroove LP, both standards won, and they stayed around for decades. On the other hand, when Philips DCC digital cas-sette went up against Sonys MiniDisc, there were two ways you could lose. So what about DVD-Audio versus SACD? Despite claims by numerous audio mavens, including a majority of specialty magazines, we have long known that the CD Red Book standard of 16 bits and a 44.1 kHz sampling rate wasnt even giving us what the LP had offered, never mind the perfect sound that digital promised. Over the years crack designers have found ways to optimize the imperfect standard: better lters, mapping systems that minimized (or at least optimized) mathematical rounding errors in the digital bitstream, and even HDCD encoding, a way of giving 16 bits the performance of 20 bits or more. Of course, we all suspected there was a better standard in our futurebut what? And when?

A disc that holds more The emergence of the DVD gave us hope. The new medium was conceived primarily for movies, to be sure the

V stood initially for video. Still, a storage medium was a storage medium. The new disc would have nearly seven times the storage space of a conventional CD, more than enough for a superior digital music system. Doubling the sam-pling rate to 96 kHz* would of course take twice the data space, and bumping the 16 bits up to 24 bits would increase size by another 50%. That would be easy to handle, and in fact we could

even double the sampling rate again to 192 kHz. Perfect sound would nally arrive. But of course movies was where the money was, and it was on movies that the DVD Consortium (later renamed the DVD Forum) concentrated. There was plenty to concentrate on, because the DVD was an amalgam of two incompat-ible technologies, and the consortium had to listen to many dissenting voices. The result was that the audio-only disc became an afterthought. Indeed, it nearly got derailed. As

members of the consortium tested dif-ferent film sound systems on human subjects, they became convinced that one of the eventual winners, Dolby Digi-tal (then called AC-3) was to all intents and purposes perfect. Then why not use a similar system for DVD-Audio? Even though the DVD had huge stor-age capacity, it wasnt quite enough. If we wanted to add surround sound, with 5.1 channels, we would need to increase space by another 275%, taking us to nine times the CDs storage space. Too much. Compression was inevitable.

For some time it looked as though the new medium would be crippled

by the same compromises that affected DVD-Video, and there were letter-writing campaigns by audiophiles, arguing for a lossless system. Finally, one was proposed, Meridians MLP (Meridian Lossless Packing)

compressed the signal by as much as half but could reconstitute the

original signal bit for bit. With its adop-tion in late 1998, DVD-A seemed to be on its way. There were more than 160

member companies, many of them eagerly wait ing to release

DVD-A discsor so we were told. In the meantime, there was action elsewhere.

The other superdisc The original CD standard had been developed by Sony and Philips, which had made a good deal of money over

*Obviously, 96 kHz is more than double 44.1 kHz. It is in fact double the 48 kHz sam-pling rate that most first-generation digital masters were recorded at. The master would then be downsampled to the CD standard. That required an unwelcome transforma-tion. Most DVD-A mastering is today done at 96 kHz. Some producers argued for 88.2 kHz, which would downsample nicely for CD. That rate was adopted as a DVD-A option, though it is seldom used.

How SACD Won the War

Or, to put it another way, how DVD-Audio blew it big time.


digital promised. Over the years crack designers have found ways to optimize the imperfect standard: better lters, mapping systems that minimized (or at least optimized) mathematical rounding errors in the digital bitstream, and even HDCD encoding, a way of giving 16 bits the performance of 20 bits or more. Of course, we all suspected there was a better standard in our futurebut what?

The emergence of the DVD gave us hope. The new medium was conceived primarily for movies, to be sure the

money was, and it was on movies that the DVD Consortium (later renamed the DVD Forum) concentrated. There was plenty to concentrate on, because the DVD was an amalgam of two incompat-ible technologies, and the consortium had to listen to many dissenting voices. The result was that the audio-only disc became an afterthought. Indeed, it nearly got derailed. As

The other superdisc The original CD standard had been developed by Sony and Philips, which had made a good deal of money over

*Obviously, 96 kHz is more than double 44.1 kHz. It is in fact double the 48 kHz sam-pling rate that most first-generation digital masters were recorded at. The master would then be downsampled to the CD standard. That required an unwelcome transforma-tion. Most DVD-A mastering is today done at 96 kHz. Some producers argued for 88.2 kHz, which would downsample nicely for CD. That rate was adopted as a DVD-A option, though it is seldom used.

Or, to put it another way, how DVD-Audio blew it big time.

The truth about

the new formats

This has always b

een true of UHF

: what you read in

its pages is not w

hat the

best-known audio

(and home theatre

!) magazines tell

you. This is even

more

true when it come

s to the new medi

a, such as SACD

and DVD-A. Our

goal is,

and has always be

en, to help you m

ake the choices be

st for you. Ohby

the way,

the subscription in

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age 3page 5 of

the PDF.


Nuts&

Bolts

the years by receiving a small royalty on every CD made. If a new proprietary standard could replace the CD, the rev-enue stream would continue. It seemed unimaginable that just two companies could be successful against a consortium of well over a hundred competitors, but these were no ordinary companies. And it so happened that one of them, Sony, had a high-resolution standard waiting in the wings. For some time, Sony Music had been recording its masters with a system known as Direct Stream Digital. UHF discussed the system extensively in issue No. 55. DSD, unlike the DVD-A and CD standards, does not use the familiar pulse code modulation, and does not store actual signal values. Rather it uses what is known as Delta Sigma modulation to track changes in the signal. It works this way. The initial signal value is stored in a temporary memory register (but not in the recording) for reference. If the next sample is higher than the stored value, DSD records a one, and if it is lower it records a zero. During silence the signal doesnt change, and so DSD records alternating ones and zeroes. Sony says that the density of bits is analog-like, and indeed that if you run the bitstream through a simple lter, you will actually hear the signal. DSD is inherently rather noisy, and noise-shaping is used to shift the noise into upper frequencies where it cannot be heard. A DSD channel takes up exactly four times the space of a CD channel. A 5.1 channel version would be too big for a DVD, but then Sony and Philips are not using the DVD as a storage medium. Interestingly enough, the DVD Forum included DSD as one of the standards of DVD-A, but that did not prevent Sony and Philips from launching its own disc, known as the Super Audio Compact Disc. It looks just like a DVD, and like a CD too for that matter. SACD was actually launched before DVD-Audio, in late 2000. The very expensive (C$8000) Sony SCD-1 player sounded excellent, but the DVD-A crowd was optimistic: unlike DVD-Audio, the SCD-1 was strictly a two-channel player. That was a temporary victory. Prices

of SACD players came down, slowly at rst, and then much faster. Whats more, second generation players had surround sound, just as DVD-A did.

The rivalry Nullam diat. Ipit pratet, sed tat vercin hent dolor iriustrud magnit prat. Gue mod tie eu facincil ent ad et wisis at alis alit wis ex eummod esto el eum quiscil dunt ipit, quisi. Ud tetum venis aut aut ad tem eugait iniat nulputatet, consequis ad ea feuguer-aessi exer ing etum duisit lumsandreet pratiscing esto eu faccccummod magnim zzrit lore eum zzrilla faccumm odigna feugiam, vel er sit autpat. Dui bla faccum do euismodolore magna faciduisl utat wis autpat, quat el dit wisit, sequat am iusci tionsequi tat, si. Ut wiscin henis eum irit, velessis adit ad et in exerilis augue modoloboreet wisi. Irit lum nulla feugiamcore minis alit lorerci llaore doleniam, vercilit il ut luptat la consed dipisi tio odionsequis exeraesed magna feuis adiam, conulla metuer inis dit velit, cor il utet, commy nosto coreet lor sustrud duissismod tate-tummy nulla facin etum verosto odignis acipsusto odolorper si. Mincillandre vel ipismod min eugiam volestis nos nim esto dit laor sim ad tat, cor in ut irit adit in vulla feummod olorem aut at. Putat nis augiat. Ugait nos augait velestie faciduis nummy nonsed del il enisisi sciduipsum alit atumsandit vullaor eratummy nim volessectet num el ut dolorero conullaore diatum iurem alit lumsan exerci blam, vercipisi blamet nummy nullut venis numsan henim doloreet nos ea adio ea aut ilis elit, sed erit praesto od tatinci tio eliqui tat. Aci elenim zzrit lorperat. Wis accummod doloreriure tat. Borem zzriuscipsum dionsenim zzriliq uamconulla consed dolor send-reros nostrud tet alis augiam dolummy nostrud mod modo exerius cillut vel duismod ming eros nullupt atismoleniam iusto consenisl dunt ullandre tat prat, quat. Henissi smoloboreet, sequatet lore core facilla ndiatum quatie vullutpatum alit ea corem doloreet laor sed tat in velit la core verat niam vulla faccum eros ent autat.

DVD-Audio stumbles Nullam diat. Ipit pratet, sed tat vercin hent dolor iriustrud magnit prat. Gue mod tie eu facincil ent ad et wisis at alis alit wis ex eummod esto el eum quiscil dunt ipit, quisi. Ud tetum venis aut aut ad tem eugait iniat nulputatet, consequis ad ea feuguer-aessi exer ing etum duisit lumsandreet pratiscing esto eu faccccummod magnim zzrit lore eum zzrilla faccumm odigna feugiam, vel er sit autpat. Dui bla faccum do euismodolore magna faciduisl utat wis autpat, quat el dit wisit, sequat am iusci tionsequi tat, si. Ut wiscin henis eum irit, velessis adit ad et in exerilis augue modoloboreet wisi. Irit lum nulla feugiamcore minis alit lorerci llaore doleniam, vercilit il ut luptat la consed dipisi tio odionsequis exeraesed magna feuis adiam, conulla metuer inis dit velit, cor il utet, commy nosto coreet lor sustrud duissismod tate-tummy nulla facin etum verosto odignis acipsusto odolorper si. Mincillandre vel ipismod min eugiam

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