Suggestion Box: Give Us Your Ideas for Articles in TAS
Tom Martin -- Sat, 05/24/2008 - 07:31
The editors of The Absolute Sound would love to hear your ideas about themes to cover, technology to analyze, trends to forecast, new products to cover, different categories of products you'd like covered, new kinds of articles or other suggestions.
So put on your thinking caps and post your ideas here.
Thanks.
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I have often heard that hi-fi is all about reproducing the sound of live music. I somewhat disagree with this, as I don't think having an actual band play in my tiny room would sound very good at all! However, I would like to see an article on live venues that have great acoustics (and why) compared with systems that most closely approach those acoustics.
I also have a challenge. I am new to the magazine, but I have so far read two articles in which you guys set a budget, whether it be $2,000, $5,000 or higher, and then every editor breaks it! Having just gone through such an exercise myself and managing to assemble a stellar system for under five thousand REAL dollars, I want to see an article in which each editor suggests a system that fits within the target budget including accessories such as cables, spikes, interconnects etc.
Mr. Harley,
Please consider a review of the new Panasonic SA-BX500 receiver found at:
http://www2.panasonic.com/consumer-electronics/shop/Audio/Home-Theater/A...
This I believe is the 7th generation Panny Receiver using the noteable Texas Instrument PurePath digital input PWM Class D amp. TACT Audio products and a few other oem's, as well as Peter Lyngdorf's, offer amplifiers without the need for a DAC in the path and for this reason becomes an interesting story of advanced engineering providing an affordable mass market solution. Considering the street price of about $400, DolbyTrueHD decoding, sophisticated "multi-amp" and bi-amp features that enable dual amping of main speakers in 5.1 mode, wireless rear option, and last but not least HDAVI single remote feature. I own the previous generation SA-XR700 and discovered the sound to be comperable to my Bel Canto $3000 amp plus costly DACS! Throw in the Panny 3000 projector and BR Disc player, a white wall and maybe wireless HDMI, four Cerwin-Vega 215's (no need for sub or center channel speaker) and voila! no installation! a bombastic high resolution Home Theater System in a 6R space with no heat plus projector on a back shelf/ceiling mount for NHT! for$5K! no installer required. How good can you get and how low can you go?
Thanks for the tip. We're always on the lookout for great bargains and technological advances.
How about 'value'....I am tired of folk using terms like 'budget' or 'moderate' to discuss of product costing several months total salary for most folk. I am also growing tired of seeing an open component with 90% of the box simply empty and the total part costs being 10% of the sale price...or mega buck gear with shoddy construction....what is 'vaue' in Hi-Fi, a pricing structure that allows 1000% markup and goes unmentioned?
I would like to suggest articles that suggest equipment for small, medium and large rooms. Size may be based on a cubic feet. Maybe at different levels: startup, medium and max systems in terms of dollars. This suggestion assumes (maybe incorrectly) smaller room size does not require large speakers and lots of watts to obtain an excellent reproduction of music. less is more.
Thank you for considering this idea.
Thanks for writing. We try to address the issue of room size when putting together our annual Budget Systems feature in the September issue every year.
We should, however, address the issue of very high quality sound in a small space, such as a New York apartment.
i have not read every entry here but if this has already been mentioned please disregard. i would very much appreciate a comprehensive overview/primer on how best to confront the room-system integration challenges we typically confront in real world settings. everything from speaker placement, acoustical room treatment, dedicated wiring for 2 ch systems, etc...i know there have been a number of articles written on this subject in the past but if there is a way to put together a step-by-step basic primer on how to address common pitfalls on this important subject, that would ber very helpful.
on the product side of things, i know RH's recent blog on the "best" system he ever heard at Rockport's listening facilities stirred up a hornet's nest (which i found very amusing), however, I would love to see greater coverage (i.e., official reviews) of Andy Payor's speaker offerings. I believe the Mira was reviewed some time back in 2004 but Rockport has introduced the Altair and, more recently, the Ankaa and Aquila speakers since then. thx very much.
Would love to see some equipment reviews on any of the new Mark Levinson 53,532 and 512 products.
While it is true that some dealers who previously carried ML gear have subseqyently stopped carrying the line, it does seem like there is a lot of email trashing going on regarding ML.
I think it would be great to hear from you folks to get your valued and expert opinions on these very new products and how they perform.
Thanks for asking..
We're very interested in the new Mark Levinson amplifiers. They are on our short list for upcoming reviews. I've lived with quite a bit of ML gear over the years and am intrigued by their new output-stage topology, which they claim is unlike other switching output stages. They also say that the new switching amplifier is the best-sounding amplifier they've ever made.
Hi RH,
what i would love to see is firstly a music guru(ZAR) dealing with AVGUIODE website that highlight live show experiences of bands and gives a little history on these bands.....something akin to the JAZZ GUY at STereophile...also that individual would do a monthly article on different genres/artists givinfg young audiophiles a window into the music. especially areas likes blues/jazz/R7R..everything around here seems to be about classical, etc.
And lastly...once a year maybe around NOV there should be an issue that deals with different reviewers talking about their experience with another reviewers system within that reviewers abode (say JV talking about an experience with AC reference system and space or RH at NG's place etc..... and definitely a SEACLIFF experience with HP's system i think such an issue would sort of give closure to the various tastes of the reviewers.
thanks and keep up the good work.
I would love to see a few systems built at various price points: say $5, $10 and $20... What's the state of the art (at these respective points), and what would you spend you money on?
I've been gradually upgrading my system for 40 years until it's in pretty good shape now. But, I'm 70, have tinnitus and have had a bit of a hearing problem for years. Still, I can hear brushes, triangles, etc. in my listening room. What I would like to have is someone who has a practiced, critical ear and a lot of experience to listen, critique and show me how to improve my Conrad-Johnson CT 5 preamp, Marsh Sound Design A400s amp, Musical Fidelity 308 cd player, Lavry Engineering DA 10 dac, Nottingham 294 'table and arm with Dynavector 17D3 cartridge and Phenomena Nova 'phono preamp to Dunlavy SC IV speakers setup. Why not feature a monthly contest for a member of the staff to go to a subscriber's home with ,say, $500.00 and see what could be done after a thorough critique. It's always interesting to see what you guys think about real world systems in real world homes. We can all extrapolate from your analysis and suggestions. (Me first!!!)
Jack D II
I think you need an audio consultation from a reliable company or individual. For TAS editors who live in different areas It might become very expensive given how small the audiophile bunch is. In healthcare it's a gold mine. Even if nothing was done and you entered the premesis get ready to shell out big bucks. I would first Try RH book on highend audiosystems with details on what to do. I think someone elses sharp hearing is good for nothing. What matters is the differences you can hear and appreciate since you will be listening to it. If you invite 5 different audiophiles they will have 5 differen. Suggestions of changed sound or tweaking each likes.
If it sounds good to you, why would you want to spend money to make it sound good to someone else?
It would nice to do some followups in your magazine about the HOT TOPICS here at the forums. A lot of the random/anonymous people on here fight and fight about things they know nothing about. So If you guys follow through some of the hot discussions a followup comments page in you magazine would be nice.
I'd love to see a comprehensive survey of High Rez PCM formats, how they compare with DSD and Redbook, and tips and tricks for making high rez more accessable to the community.
Thanks for that feedback, atulkanagat.
While this subject has been discussed in reviews as a secondary subject, I would like to see a real indepth comparison between the various types of ways we can play digitial files.
So compare "cd" verses "music server" verses "PC". Please note that to me, a music server DOESNT contain a hard disk and anything with a hard disk can be classed as a "PC".
If that distinction is to coarse then we maybe we do "cd" verses "diskless music server" verses "disk based music server" verses "PC"
To make it a level playing field (and easier to implement):
- only 44.1/16 should be under comparision
- CD playback should be via a dedicate transport
- all devices should go via a common DAC and obviously all other downstream components should remain consistent
- where possible, the connection from playback device and the DAC should be consistent and the best possible (BNC or AES/EBU)
- If possible, as a subset, compare PC via both USB and also a soundcard using its digital outs
- If possible the devices under test should have various price points
The idea is to determine if the hard disk image of a track sounds really better than the olde world spinning CD , where the sonic differences are and also to see at what price point the difference do/dont occur.
peter
I made this comparison in a sidebar to my review of the Esoteric D-03/P-03. The conclusion was the a PC-based music server sounds better than optical disc. This is the general consensus of listeners.
I know this isnt about articals or anything but adding measurements would be great to at least all loudspeakers. Im not saying decay plots or anything but at least outdoor measurements of loudspeakers and in room. And if you really want to rock , vertical and horiz would be amazing. Stereophile doesnt do most of the great loudspeakers TAS does so i think it would be nice.
Chris
I think it would be very helpful to have a robust analysis of the various pieces of the puzzle. The comments regarding Hard Drives vs optical disks etc is one important piece. A comaprison of different GUI's like ITunes, Winamp and Media Monkey is another.
I am finding ITunes to be extremely easy to use but not as powerful or robust as media monkey. Strangely, files sound better in MM vs ITunes. I have not compared their ripping capabilities, but suspect there are differences.
Once, just once, I'd like to see a review of a Dynaudio loudspeaker system.
How about the Contour S3.4s? There are no magazine reviews of that speaker system to be found.
This will give us a respite from twice yearly Wilson reviews.
Dynaudio has been in transition between lines and just introduced a slew of new loudspeakers. We have reviews in the works.
Interesting. I'm not aware of any transitions between lines other than the advent of the Excite line replacing the Audience line over a year ago. The Focus, Contour, and Confidence lines are unchanged as far as I am aware and currently in production. There's a very active thread on the AVS forum where the NA Dynaudio customer service rep hangs out daily, and there's been no inkling of transitions between lines. The only real new speaker, other than 2008's 30th anniversary special edition Sapphire, which was limited to 1000 units, and is just about to go out of production, is the new full-range Consequence, which is primarily intended for the Asian market and debuted at RMAF in October.
Still it's good to hear some reviews are in the works, though, I look forward to seeing them. Thanks, Robert.
RH:
How about:
DS
How about an article on ordinary maintenance practices/products? What to do and what with? How often? What works? Fluxbusting cartridges, degaussing the whole system, fluxbusting interconnects, retreating connections and etc.
Jack D II
Since y'all asked...
I'd like to see a discussion of the relative sonic merits of:
1. DACs with digital or passive-analog volume controls that are intended to feed power amps directly
2. Stand-alone DACs with line level only analog outputs (intended for use with analog preamplifiers)
3. Integrated DACs with active preamps
There is obviously a general consensus among TAS reviewers that fewer features generally provide better sound, but where do the boundaries lie? Does a DAC with digital volume control (such as the Berkeley Alpha DAC) better the sound of a DAC with an integrated preamp (such as the Benchmark DAC1 HDR)? Are the differences between the DACs so great that no comparison is possible? Of the non-oversampling DACs with digital volume control (Logitech Squeezebox, Apple iTunes) do these offer adequate performance directly into a power amp, or must they be used with an analog preamplifier for best results? Of the oversampling DACs with digital volume attenuation, which have sufficient word length to negate the adverse effects of the digital volume control?
Of the available offerings in the three categories defined above, which are best (cost no object) and best (within a defined budget range, say $4k, $2k, and $1k)? With an ever-increasing portion of TAS readership moving to computer-based (and often wireless) digital music streaming, enquiring minds want to know...!
While I'm asking, I'd also like a comparison between the best of the DACs of years past with the entry-level DACs of today. Since many of the older "state of the art" DACs are now available for the price of an entry-level new DAC, which offers the better sound for the dollar? Is the consumer better off shopping for an older Wadia, Theta, or Audio Research DAC, or buying a new $300-600 DAC? Obviously, the newer DACs offer more features (USB inputs, possible oversampling, more versatility), but how does the SOUND QUALITY compare? I realize that this isn't an easy comparison to engineer (the older equipment would have to be obtained from individuals on loan, or purchased via Audiogon or eBay), but the value to the reader would be spectacular. Is this feasible?
Additionally, in the overall goal of providing a home facsimile of the absolute sound, where do electronic room-correction systems currently stand. Is a reader seeking the most accurate sound better off with or without the current electronic room correction systems? What needs to be improved in such systems to provide the next "order of magnitude" improvement in overcoming the sound of the actual listening room?
Also, may I ask for a "manufacturer retrospective" comparing the products, say of Jim Thiel, over the life of the company. I'd like to hear how a Thiel 3.5 speaker system compares to a 3.6 and to a 3.7? Again - this is a difficult comparison to engineer with the older products being either in poor availability or questionable operating condition, but the value to the reader would be great.
Finally (yes, I know you'll all be grateful when I go away...), I'd like to see a "speaker cable roundup" comparing standout economy products (Radio Shack flatline speaker cable) to the entry-level products of the carriage trade manufacturers (Kimber 4tc, Nordost Flatline Gold, etc.). Throw in a pair of 12 ga. zip cords just for comparison purposes. On the interconnect side, compare some "recording studio quality" Mogamis to the entry level interconnects of the same manufacturers mentioned in speaker cables. Do the differences in performance justify the differences in price? Of course, for this to be meaningful, at least two amps and two sets of loudspeakers would need to be auditioned with each speaker cable or interconnect candidate.
Since TAS writers have neither the time nor the patience for such comparisons, may I suggest subbing out the listening to any of the nationally known audio clubs. Knowing that their handiwork is to be published would not only encourage attendance, participation, and membership, but would also lay the groundwork for future comparisons. The cable testing would, of course, need to be blind. I normally am not in favor of rote blind testing, but the opportunity for broader participation and the benefits to be derived from such a program seem to justify the concept.
I'll quit now - thanks for the opportunity!
Boomzilla
A good sense of humor makes it ALL sound better!
A couple of items have piqued my interest
1) The Luzachek Loudspeaker Phase Arbiter. This is a DSP Loudspeaker Correction Tool that is entirely software based. TAS has covered hardware room and loudspeaker correction implemented by companies like TACT and Deqx for years, but has not to my knowledge ever reviewed any software based solution. These solutions are cheaper, more readily updated, and work for anyone using programs like FOOBAR, Media Monkey, or ITunes as their primary means of delivering digital information to their DACS. It would be interesting to know if these programs are viable alternatives to the multi killobuck hardware implemented DSP solutions.
2) The Linkwitz Lab Orion Lousspeaker. This speaker is not available at Bricks and Mortar Hi-Fi Dealers, but is available both in kit form and fully assembled over the internet. It is designed by one of the foremost designers in the history of hi end audio, Sigfried Linkwitz, and there is a great deal of buzz suggesting that it matches or exceeds the performance of any speaker system at any price. It would be nice for someone who reviews the premier products such as the Magicos and the Wilson Alexandria's, etc to listen to it and asses to what degree it matches or exceeds the most expensive systems on the market.
I had a discussion at work the other day with the only other hi fi fan that I know. I had just purchased a new NAD C275BEE amplifier and we were wondering which ones of the 70's Japanese manufacturers were still making separate preamps and amplifiers or anything else of a semi-serious nature. I was perusing some web sites and found that Yahama and Harman Kardon both make some pretty serious looking integrated amps with built in MM and MC phono stages. The Yamaha comes in two versions, one with unbalanced inputs and one balanced. MIght be worth a peek for one of your many affordable audio reviews. www.yamaha.com/yec/products/productdetail.html
Funny how so many letter writers carp about the lack of affordable equipment reviews and I read several in every issue it seems.
TAS has put out some great "analog" and "digital" issues. How about an "accessories" issue? I notice one poster to this forum has already mentioned equipment racks and another discussed maintenance issues. Maybe you could combine these with mini-reviews of accessory products. I would particularly like to see articles that investigated the differences between the soft "absorb the vibes" products like Vibrapods, Herbie's Audio Lab, Townsend Seismic sinks, etc. and hard "sink the vibes" products like Black Diamond Racing, Symposium Blocks, Mapleshade Brass footers, etc. I think this may help steer users toward the types of products that may perform best for their equipment. For example, you may conclude that soft feet seem to perform better under tube amps, hard feet seem to work better under DACs, the point being to report some generalizations. You could also extend this to powerline products, what types of differences do you hear between, say, passive boxes like Shunyata and Adept and active regenerators like the PS Audio unit. One thing for sure, save cabling for a separate issue!
Hi all, two years ago Neil Gader asked "Anyone Using Active Loadspeakers" in the high end audio speakers forum, and said most audiophiles don't take to them, I think around the world a lot of fine reviews of the ADAM AUDIO - Tensor Active Speakers: HIFI World(UK), What HIFI(UK), Stereo(Germany), Audio(Germany), Stereoplay(Germany),Prestige Audio Video(France), Haute Fidelite(France), Hjemmekino(Norway), are openning the minds of the audiophiles, I also helps for example on the Tensor Gamma 1000W of Power per Speaker, use Accelerating Ribbon Technology for the tweeters that go to 50Khz AND Accelerating Ribbon Technology for the Midrange for transparency, two HexaCone woofers that work against each other ( one at the front and one at the back) that neutralises distortions, all mounted on a Aluminum Honeycomb Plate, with a Sandwich Construction of one layer of Sand And Two Layers of Wood.
Take a look: http://www.adam-audio.com/en/home-audio/products/gamma/series
All the best..
It would be great to see a comparison review of active loudspeakers, such as the Adam, some Quad 12L's, the AVI model that Alan Sircom raved about. The Peachtree iDecco would be a good choice as one of the reference components, as would the new Wadia unit in this month's Absolute Sound.
You'll see a review of another active/powered speaker very soon in TAS.
I'd say more, but I don't want to spoil the surprise.
Steven Stone
Contributor to The Absolute Sound, EnjoytheMusic.com, Vintage Guitar Magazine, and other fine publications
Hey guys,
What are the chances of another edition of the "6 Great-Sounding and Affordable Systems" article that you did a couple of years ago? Thanks.
Dan
An article examining the peculiar set-ups equipment designers allow their advertising agencies to illustrate them in. TIme after time advertisements appear in Audio publications (who should know better) of gear installed in acoustic nightmares . If these were occasionally counterbalanced with articles explaining at least the minimum requirements for decent listening room acoustics I could understand allowing such idiocy to be on full display. Sadly, as such articles are as scarce as hen's teeth, I can only assume that high-end audio publications either don't think room acoustics matter, are scared silly of loosing advertising revenue, or both.
The new Aerial 7T speaker. Maybe as a sidebar an interview w/Michael Kelly. Also review the new Primaluna Dialogue 3. Please use SS amps
as many of us users will be hooking it up to our HTs. Also do an in-depth check of the auto-bias feature on the Primaluna. Test how accurate it is.
Steven, great review on the PSI active speakers. Seems like a natural for computer audio. And how cool that you got to hang out with Gordon Holt. He was my favorite reviewer, and I got to hear great speakers based on his reviews, such at the Sound Lab A1 and Shahinian Diapaison. I think you're right; I think he would have liked these speakers. Maybe even in a 5.1 set up, since if I recall, he liked surround sound. Anyway, it was good to see another positive review on active speakers.
Thank you for your kind words.
Not a day doesn't go by that I don't think, "What would Gordon say to that?"
The answer is aways a good one...
Steven Stone
Contributor to The Absolute Sound, EnjoytheMusic.com, Vintage Guitar Magazine, and other fine publications
I have been a TAS subscriber since 1994. Over in the Cables forum, Robert talked about reviewing Transparent Opus cables in his system.
I wanted to know when we can expect that segment?
Just spotted something that could be interesting. Over on Drawmer's web site, the front page features, up close and personal, a new "HQ Precision Pre-amp/DAC". Looks very interesting, espeically from a company with the credentials it has in the recording and mastering worlds. Based on my experience with their compressors and gates in my little project studio at work, I'd be willing to bet it could be very, very good, if not world-class.
It would certainly be interesting to find out.
Time for a survey of professional AD/DA converters? Perhaps a comparison with one of your favorite DACs?
With the interest in preserving vinyl by recording it onto computer, I'd think a standalone AD/DA would be of interest to a lot of folks. Given also that highly competent two-channel 24/96 and 24/192 USB, Firewire (at least for a little while longer), and Thunderbolt converters are available between the $150 and $600 price points from Focusrite, M-Audio, and Apogee, it would seem like a no-brainer. I get excellent results from a Focusrite Pro 24 both converting live recordings from my studio and saving vinyl recordings by digitizing them and playing them back from my laptop with the same converter.
With prices being what they are now, I'm seriously considering purchasing a second converter just for my listening system so I don't have to worry about moving the Pro 24 between my recording studio and my home stereo when I want to listen to digital files.
Seems like something a lot of audiophiles with serious interest in vinyl would appreciate knowing about, especially as the turntables with built in ADCs are entry level decks.