Here’s a little controversy from the archives of Stereophile magazine.
Stereophile has an interesting policy whereby an equipment reviewer writes up his subjective experience of testing a device, and only then is it measured for distortion, frequency response and so on. It seems that the magazine has the integrity to publish the two reports whatever the outcome.
Have you ever seen a more polarised review than this one from 2005?
The reviewer says:
The CyberLights represent one of the greatest technological breakthroughs in high-performance audio that I have experienced in my audiophile lifetime….
…for the first time in your life you’ll hear no cables whatsoever. When you switch back to any brand of metal conductors, you’ll know you’re hearing cables—because what’s transmitted via CyberLight will be the most gloriously open, coherent, delicate, extended, transparent, pristine sound you’ve ever heard from your system…
The measurements person says:
If this review were of a conventional product, I would dismiss it as being broken. …I really don’t see how the CyberLight P2A and Wave cables can be recommended. I am puzzled that Harmonic Technology, which makes good-sounding, reasonably priced conventional cables, would risk their reputation with something as technically flawed as the CyberLight.
You’ll have to read the full review for yourself, because the contrast between the two opinions is almost comical. The measurements are quite something to behold.
You see, I sometimes worry that perhaps I just don’t ‘get’ this hi-fi business. £80,000 analogue systems don’t sound anything special to me. Vinyl doesn’t sound as good as digital to my ears but everyone else says it is much better. Designing and building my own system was really quite straightforward, yet the internet is full of intense discussion about how difficult it is; people spend their entire lives building their own speakers and are never happy with them yet it’s almost three years in and counting, and I haven’t felt motivated to modify mine yet. Are the experts hearing something I am not? Perhaps this review sheds some light on the answer.
Analogue enthusiasts often claim that the signal-modifying effects of whatever product they are listening to actually improve the sound. The usual line is that the indefinable magic of valves and vinyl is down to what those devices add: they are serendipitously restoring something that is supposedly missing from the recording. ‘Poor’ measurements are simply an indication of an harmonious combination of factors that enable the leap from clinical, neutral signal to real music. There is no argument possible against this assertion.
However, in the above review, the writer cannot make that claim. Clearly he has confused high levels of distortion and noise plus extreme frequency response variations as an absence of colouration. For him, replacing metal cables with “light” was all about removing “grunge” and other “well-known problems”. Because of his extreme analogo-philia, I don’t think he actually knew what ‘neutral’ sounded like. When he heard something that was different from anything he had heard before, he automatically assumed that it must be because cables really are the sonic quagmire he thought they were and that the product was doing what he assumed it was designed to do. For once, it actually was a “night and day” difference but his understanding of what he was hearing was 180 degrees wrong. In the scheme of things, it doesn’t really matter, but it reassures me that 99% of the ‘expert’ opinion based on listening is very dubious indeed – I do think there are people out there who would find much to like in a pair of yoghurt pots linked with string as long as they cost enough.
Stereophile, it appears, doesn’t normally measure cables when they are reviewed. I think we can guess why: there is nothing to measure. Each and every review would feature the same distortion and noise measurements at the very lowest depths of the test equipment’s range, plus a ruler-flat frequency response when using the cable in normal circumstances. It wouldn’t matter if the cable cost £1 or £10,000 – which, absurdly, they sometimes do. To arrange anything different would actually be quite difficult. It is this complete, boring neutrality that Michael Fremer and other cable mythologisers are convinced is plagued with “grunge” and other problems. The justification for the Cyberlight product, so appealing to Fremer, is that it replaces a short section of metal with light and fibre optics, and is analogue – you still connect to the input and output with those awful grungy wires. It is no different from becoming excited about the audio quality of headphones that use an analogue wireless link rather than a cable. Just as with those headphones, there is a little “background hiss” but this is a small price to pay, apparently. And just like those headphones, the signal goes through a link of dubious quality. Very dubious. At least there is a valid justification for wireless headphones, though.
If you gave me about £20 to buy a few parts, I could build you this device in an afternoon, probably. But if I did, I would try to make it work properly. I would certainly try to convince you that the whole product was unnecessary and was corrupting the signal, and that if we really had to use fibre optics we should digitise the signal and send it as pulses. I might also point out that the commercial product is a mess: various “wall warts”, $400 battery packs and “pigtails” that could, depending on what equipment you’re using, destroy your speakers.
And don’t ever unplug or plug in the power to the cables with the amplifier turned on or you’ll send a horrendous THUMP through your system.
For people who might dismiss active speakers and DSP as too complex, there are no limits to the Heath Robinson-esqueness that they can tolerate in the name of ‘analogue’.