Seen here. You could buy the mixing desk used for Dark Side of the Moon at auction this month.
UPDATE 28/03/17. It sold for $1.8m.
Seen here. You could buy the mixing desk used for Dark Side of the Moon at auction this month.
UPDATE 28/03/17. It sold for $1.8m.
Have you ever suddenly been inspired to embark on a brand new hobby?
Maybe you’ve never owned a boat before, but having seen one chug by on the river you have thought “I’d love to do that!”. A quick browse in the classified ads shows lots of boats that look fine, and they don’t cost all that much. Basically any boat would be great, and you could gradually do it up, even if it is a bit shabby now. In your mind’s eye, your family will love you when you are able to take them on spur-of-the-moment, cheap weekends messing about on the water, starting in a few weeks’ time.
From this high point where the world is your oyster, you begin to take the advice of the magazines and other experienced hobbyists. Before you have even owned a boat, you become aware of the hierarchy of boat owners, and the boats that would render you a laughing stock if you owned them. You become aware of the general consensus on different types of bilge pump – not something you ever wanted to know. You begin to form an idea of the boat you should really go for – and it is not one of the bargain basement jobs you first saw. You might just about be able to stretch to a boat that would put you in the lower echelons of boat ownership but, importantly, not on the very lowest rung. You could always, perhaps, move up from there over time.
It now turns into an all-consuming hobby with the goal of having a boat on the river at the end of the year. In the end it costs thousands, and your children have grown up and left home before your boat finally takes to the water. You hit a bridge and rip the top off your boat the first time you take it out. You feel sick and abandon the whole hobby (a true story).
That’s the nature of male hobbies. They start out as wonderful, spontaneous ideas, but can turn into nightmares – mainly due to the existence of other hobbyists! Audio is one of those hobbies, I think. Ridiculously, the prices paid for bits of audio knickknackery rival the costs of boats.
A person could be seized one day by the idea of hi-fi as a way to improve their life, buy an amp and some secondhand speakers off Gumtree for £100, and plug their tablet or laptop headphone socket into the amp using a £2 cable. Hey presto, a hi-fi system that will sound much better than what they had before, and which has tinker-ability via the buying and selling of speakers and the audio streaming/library software options; there is no urgency in changing the amp and tablet hardware as they are pretty much perfect in what they do. The speakers are almost like pieces of furniture, so the person can indulge their tastes in how they look as well as how they sound, and they can be restored using standard DIY skills – a nice mini-hobby.
But what if the person does the natural male thing, and starts to read the magazines and forums? Immediately they will realise that their tablet’s headphone output is a joke in the audio world. They need to spend at least a few hundred pounds on a half-decent ‘DAC’, plus a couple of hundred on a budget cable. And of course, this is only for convenience: real audio quality can only be had if they own a decent turntable and a special vibration-free shelf to put it on. Where do they go from there? They need to make a decision on which turntable and which cartridge to go for. They need to take a view on cables, power conditioners, valve or solid state amps, accessories like cable lifters and record cleaning machines. Each decision, they are assured by their fellow hobbyists, will result in “night and day” differences in the sound.
After some months agonising over it, they assemble a beginner’s system for about £3,000 – they will upgrade as budget allows. It sounds OK, but they know that even though the brand is a highly recommended one, the particular model of valve amplifier they could afford has “hints of a slightly reticent mid range” – one of the magazines said so – and if they listen carefully, perhaps they can hear that… But the more powerful 18 Watt model cost £800 more and they decided against it. Perhaps they made the wrong decision. The nightmare unfolds…
Some people actually think of stereo imaging as a “parlour trick” that is very low on the list of desirable attributes that an audio system should have. They ‘rationalise’ this by saying that in the majority of recordings, any stereo image is an artificial illusion, created by the recording engineer either deliberately or by accident; it does not accurately represent the live event – because there may not even have been a single live event. So how can it matter if it is reproduced by the playback system or not? Perhaps it is even best to suppress it: muddle it up with some inter-channel crosstalk like vinyl does, or even listen in mono.
At the top of the list of desirable attributes for a hi-fi system, most audiophiles would put “timbre”, “tonality”, low distortion, clean reproduction at high volumes, dynamics, deep bass. All of these qualities can be experienced with a mono signal and a single speaker – in fact in the Harman Corporation’s training for listening, monophonic reproduction is recommended for when performing listening tests.
Because their effects are not so obvious in mono, phase and timing are regarded by many as supremely unimportant. I quote one industry luminary:
Time domain does not enter my vocabulary…
We know that our eyes respond to detail and colour in different ways. In the early days of colour TV (analogue) it was found that the signal could be broadcast within practical bandwidths because the colour (chrominance) information could be be sent at lower resolution than the detail (luminance).
There is, perhaps, a parallel in hearing, too: that humans have separate mechanisms for responding to sound in the frequency and time domains. But the conventional hi-fi industry’s implicit view is that we only hear in the frequency domain: all the main measurements are in the frequency domain, and steady state signals are regarded as equivalent to real music. A speaker’s overall response to phase and timing is ignored almost totally or, at best, regarded as a secondary issue.
I think that this is symptomatic of an idea that pervades hi-fi: that the signal is ‘colour’. Sure, it varies as the music is playing, but the exact nature of that variation is almost incidental; secondary in comparison to the importance of the accurate reproduction of colour, and that in testing, all that matters is whether a uniform colour is accurately reproduced.
There has, nevertheless, been some belated lip service paid to the importance of timing, with the hype around MQA (still usually being played over speakers with huge timing errors!), and a number of passive speakers with sloping front baffles for time alignment. Taken to its logical conclusion, we have these:
Their creator says, though:
It’s nice if you have phase coherence, but it is not necessary
So they still fall short of the “straight wire with gain” ideal. It still says that the signal is something we can take liberties with, not aspiring to absolute accuracy in the detail as long as we get a good neutral white and a deep black, and all uniform (‘steady state’) colours reproduced with the correct shading. It says that we understand the signal and it is trivial. Time alignment by moving the drivers backwards and forwards is an easy gimmick, so we can go that far, however.
I think that with DSP-corrected drivers and crossovers, we are beginning to find that there is another dimension to the common or garden stereo signal; one that has been viewed as a secondary effect until now. Whether created accidentally or not, the majority of recordings contain ‘imaging’ that is so clear that it gives us access to the music in a way we were not aware of. It allows us to ‘walk around’ the scene in which the recording was made. If it is a composite, multitrack recording, it may not be a real scene that ever existed, but the individual elements are each small scenes in themselves, and they become clearly delineated. It is ‘compelling’.
I can do no better than quote a brand new review of the Kii Three written by a professional audio engineer, that echoes something I was saying a couple of weeks ago: imaging is not just a ‘trick’, but improves the separation of the acoustic sources in a way that goes beyond the traditional attributes of low distortion & colouration.
I think he also echoes something I said about believable imaging giving the speaker a ‘free pass’ in terms of measurements. As in my DIY post, he says that the speaker sounds so transparent and believable that there is no point in going any further in criticising the sound. A suggestion, perhaps, that conventional ‘in-room’ measurements and ‘room correction’, are shown up as the red herrings they are if a system sets out to be genuinely neutral by design, at source.
Firstly, the traditional kind of subjective analysis we speaker reviewers default to — describing the tonal balance and making a judgement about the competence of a monitor’s basic frequency response — is somehow rendered a little pointless with the Kii Three. It sounds so transparent and creates such fundamentally believable audio that thoughts of ‘dull’ or ‘bright’ seem somehow superfluous.
… it is dominated by such a sense of realistic clarity, imaging, dynamics and detail that you begin almost to forget that there’s a speaker between you and the music.
…I’ve never heard anything anywhere near as adept at separating the elements of a mix and revealing exactly what is going on. I found myself endlessly fascinated, in particular, by the way the Kii Three presents vocals within a mix and ruthlessly reveals how good the performance was and how the voice was subsequently treated (or mistreated). Performance idiosyncrasies, microphone character, room sound, compression effects, reverb and delay techniques and pitch-correction artifacts that I’d never noticed before became blindingly obvious — it was addictive.
…One of the joys of auditioning new audio gear, especially speakers, is that I occasionally get to rediscover CDs or mixes that I thought I knew intimately. I can honestly say that with the Kii Three, every time I played some old familiar material I heard something significant in the way it performs…
…Low-latency mode …switch[es] off the system phase correction. It makes for a fascinating listening experience. …the change of phase response is clearly audible. The monitor loses a little of its imaging ability and overall precision in low-latency mode so that things sound a little less ‘together’.
“The Kii Three is one of the finest speakers I’ve ever heard and undoubtedly the best I’ve ever had the privilege and pleasure of using in my own home.”
It seems that a milestone was passed last week when UK vinyl sales hit £2.5m versus digital’s £2.1m. Vinyl has enjoyed eight straight years of growth.
It’s no skin off my nose, except where new recordings begin to be produced primarily with the vinyl release in mind. This is where dynamics are reduced, bass and treble attenuated, and stereo effects restricted while the recording is being made, rather than a special post-processed master being made for vinyl. We digital listeners are then forced to listen to the less dynamic version as well.
I just had a quick look to see if I could find an actual ‘Top Tips for Mastering Vinyl’ example for the above. The first site I looked at contained this:
Mastering for Vinyl
…For minimalist recordings, you want to try and minimize large phase differences between channels… This means that spaced omnis are really not such a good idea if you can avoid them.
If you can’t avoid them, try and put loud bass sources in the center of the soundstage, as close to the center mic as possible. Even if you are using coincident miking, this is a good idea.
In other words, once vinyl becomes a major consideration, actual recording techniques are dictated by the medium. In the example above, it is not crazy studio effects that are being limited, but the microphone placement used in minimalist recordings that you might have thought were not a problem.
Just saw a short article about a new product that aims to remove the pops and clicks from vinyl records. It…
…digitizes the signal at 192/24 bit resolution and then uses a “non-destructive” real time program that removes pops and clicks without, the company claims, damaging the music.
…In addition to real-time, non-destructive click & pop Removal the SC-1 features user controllable click & pop removal “strength”, a pushbutton audiophile-grade “bypass” that lets you hear non-digitized versus digitized signal (for when you don’t need pop and click removal), iOS and Android mobile app control and 192/24 bit hi-res digital processing.
Of course it is highly ironic that a vinyl enthusiast should need the services of the digital world to improve the sound of his recordings. And it is obvious (surely) that the digital stream could be stored for later replay without needing to further degrade the original vinyl or wear out the multi-thousand dollar stylus that is no doubt being used. (Omitting to mention the most obvious idea of just listening to a digital recording…)
The aim of the product reminded me of a certain project in an old electronics magazine, a huge number of which I still have in a set of bookshelves that I haven’t touched since 1990 – the date of the last magazine I seem to have bought. Sifting through them, it is amazing how familiar the front covers still are – a measure of the intensity of youthful hobbies.
From Electronics Today International in April 1979, the project I remembered was a ‘Click Eliminator’ for vinyl records based on an analogue CCD delay line. The idea was to insert a few milliseconds of silence in place of the offensive click. Here’s how it worked:
Electronics Today International was the magazine I would go to WH Smiths for on a Saturday, being terribly disappointed if the latest issue wasn’t in. I would say more than 50% of issues featured an audio or hi-fi project: from 1982 an active speaker project for example, or from 1986 “Can Valves make a comeback?” with an accompanying valve amp project. There were any number of MOSFET amps, phono pre-amps, tape noise reduction units. Electronic music featured prominently with projects for effects pedals and synthesisers galore. I devoured this stuff.
Other magazines included: Practical Electronics, Wireless World, Everyday Electronics, Elektor, Electronics and Music Maker, and one I didn’t recall Hobby Electronics. I also bought any number of computer magazines. I have never thrown any away, so I have hundreds of them gathering dust.
Jack White aims to play the first vinyl record in space.
From The Guardian:
With the aid of a ‘space-proof’ turntable and high-altitude balloon, the singer’s Third Man Records will try to beam Carl Sagan’s A Glorious Dawn from orbit…
The Guardian link writers came up with
The Vinyl Frontier
Now that’s quite good…!
Maybe you suspected it all along, but an article in the Daily Telegraph suggests that 48% of vinyl albums haven’t been played one month after purchase, and that 7% of vinyl purchasers don’t even own a turntable.
Student Jordan Katende told the BBC: “I have vinyls in my room but it’s more for decor. I don’t actually play them. It gives me the old-school vibe. That’s what vinyl’s all about.”
Apparently there is talk of developing “HD Vinyl”…
Imagine a vinyl record that has 30% more capacity, 30% greater volume, and double the audio fidelity of a typical LP sold today.
The layers of irony inherent to this concept are many:
The HD Vinyl process… involves… perfecting the topographic, computer-generated, 3D modeling imprint before any physical manufacturing takes place. “We adjust the distance of the grooves, we correct the radial/tangential errors, and we optimize the frequencies,” Loibl continued. “You could say we ‘master’ the topographical data, which is a totally different approach.”
After that, a ‘pulsed high-energy Femto-laser’ burns the audio directly onto the stamper.
Over a year ago, I was pondering on the idea that the way hi-fi was going, we would end up with 3D-printed phonograph cylinders. I am glad that the process is well under way.
Another audio-related article in the Guardian. This time about a hipster-ish trend for hi-fi systems in pubs and clubs.
Tucked away among the hustle and grot of the east London district of Dalston is Brilliant Corners, an initially unassuming little bar… where jazz, disco and electronic music can be heard over the kind of huge Klipschorn speakers that make sound enthusiasts and club historians go weak at the knees…
I have noticed this trend. There are even hints of it in my home town, with pubs and trendy cafés making a feature of vinyl-based sound systems. One café has a vinyl record shop in the basement which usually seems packed.
The dead hand of audiophilia and its need to validate the experience with high prices is never far away, however, with the article suggesting that this is all about bringing £500,000 of extraordinary performance within reach of the masses. In reality, surely, it’s all about a convivial atmosphere and something a bit ‘retro’. One pub I know plays music on an old radiogram that might have cost £50 on eBay and this, it seems to me, achieves the same objectives.
Journalists always look to Sony for predictions of the future of technology. At this year’s Consumer Electronics Show, the company has debuted a new audio player device: the PS-HX500.