9/16/2023 0 Comments Hi fi stereo equalizerThe following quotes have been edited for clarity and brevity.Ĭharlie Randall, co-CEO of the McIntosh Group Of course there's no one answer, but here's what they had to say. We asked seven industry experts and audio enthusiasts for their modern definition of hi-fi. So should the bar for hi-fi go up in response? In the past, hi-fi was generally defined as audio that was CD or vinyl quality (16-bit/44.1 kHz), but today you can listen to higher resolution audio files (such as 24-bit/192kHz or even even 32-bit/384 kHz). The tricky bit in the modern day is that so many mediums - CDs, vinyl, streaming, even tapes - are in play, and different formats can have different fidelities. Many of today's music streaming services (including Apple Music, Amazon Music HD, Tidal, Deezer and Qobuz) offer a lossless streaming tier, meaning you can listen to digital audio files that are the same or better audio quality than a CD. What hi-fi is may be a point of contention, but lossy compression certainly does not fit the bill. In the 90s, quality took a detour as the age of Napster and the iPod ushered in the dominance of compressed digital audio files like the MP3, which destroy data in their quest to get file size down. Perhaps more importantly, CDs were one of the first mainstream digital audio formats, which helped pave the way to today's digital streaming age. In the early 1980s, CDs came along and eliminated a lot of the extra noise, like the crackling and other imperfections that like vinyl is now sought out for. "It made such an impact on recorded sound that people started referring to a ‘Hi-fi’ as a ‘Stereo’," explained Alex Munro, the brand director at Q Acoustics. With the addition of a second speaker, or second channel, stereo was able to add another layer of realism to the music. In the 1970s, the definition of hi-fi evolved with the introduction of stereo sound. Thanks for your consideration.The Argument Against a Wireless Hi-Fi System It is most especially not a forum for political discussion, trolling, or rude behavior. Spam will be blocked or deleted.Ĭopper is a place to be enthusiastic about music, audio and other topics. This includes: political commentary posts that are abusive, insulting, demeaning or defamatory posts that are in violation of someone’s privacy comments that violate the use of copyrighted information posts that contain personal information and comments that contain links to suspect websites (phishing sites or those that contain viruses and so on). The editor and Copper’s editorial staff reserve the right to delete comments according to our discretion. While we encourage thoughtful and spirited discussion, please be civil. We are free from advertising and subscribing to Copper is free.Ĭopper’s comments sections are moderated. Ivan Berger, Steven Bryan Bieler, Steve Kindig, Ed Kwok, Ted Shafran, David Snyder, Bob Wood Jan Montana, Rudy Radelic, Tim Riley, Wayne Robins, Alón Sagee, Ken Sander, John Seetoo, Dan Schwartz, Russ Welton, Adrian Wu Johnson, Don Kaplan, Ken Kessler, Don Lindich, Stuart Marvin, Tom Methans, B. Agnew, Ray Chelstowski, Andrew Daly, Harris Fogel, Jay Jay French, Tom Gibbs, Roy Hall, Rich Isaacs, Anne E. We end the issue on an astral plane, by a test bench, and with a view of walking in Bisbee. We run an interesting article from FIDELITY magazine about an unexpected evaluation of l oudspeaker tonality and imaging. Howard Knelling sits in The Listening Chair to audition the Technics EAH-A800 headphones. Johnson tells us about jazz vocalese virtuoso Kurt Elling, and Maurice Ravel’s piano and chamber works. Andrew Daly talks with jazz/funk bassist Mitchell Coleman Jr. Tom Methans checks out the new documentary, Personality Crisis: The Story of David Johansen. Jan Montana has a report from the 2023 NAMM show, where musical instruments and gear of all types are on exhibit. Ken Kessler continues his investigation into the cassette…revival?ĭon Lindich tells us what he saw at AXPONA 2023, and B. Ted Shafran reconsiders the work of conductor James Levine. Sean Olive, acoustic researcher at Harman International. Russ Welton concludes his interview with Dr. re-pressings – how do you choose? Adrian Wu pays a visit to legendary audio designer and writer Jean Hiraga, then heads to the Munich HIGH END 2023 show. In this issue: I cover Octave Records’ latest, Ancient Rhythms by guitarist Bill Kopper, who blends Brazilian, African, jazz and other musical influences into a compelling new sound. Sadly, she left us at 83, but the timeless gift of her music lives on.įor sheer musical and sonic bliss, listen to Getz Au Go Go. Astrud Gilberto – the voice of an angel, the Girl From Ipanema.
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