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"...and one high-end system." Oh bully for them! But the gaps in their reasoniing are blatant.

Am I surprised this pretentious (excuse me, I meant prestigious) "peer-reviewed" journal missed them? What does that say about their peers?

First, was their 16-bit/44.1-kHz “bottleneck" sonically comparable to Redbook CD? Or was it more like a CD-R, which in a wide variety of processes sounds far more real than an original CD? I mean, if you're going to claim a fair comparison...

Second, was the "bottleneck" itself designed for sonic results of any sort, or was it one of those strictly numerical things one finds from off the boards of so many digital engineers (present company excepted)?

Third, what were those "professional monitors" referenced? Yamahas? B&Ws? (Feh! to both!) And the electronics? Maybe the entire article, when it comes to my mailbox, will explain; meanwhile I fall back on an observation that was given to me long ago: Nine out of ten worst hi-fis are found in recording studios.

Fourth, consider the phrase, "students in a university recording program". Never mind that in the Boston area, where presumably the tests were conducted, I know of no "university recording program" -- these would be the very students who are learning how to use 48-96-192-channel boards and accompanying digital toys -- the very students who, along with their teachers, are mostly responsible for the very noticeable degradations in current recordings.

Fifth, was any attention paid to the polarity of the musical material?

Finally (although I do have more in mind), apparently no effort was made to include a top-rank SACD player such as the Ayre C-5xe Universal Disc Player (ahem!) or a top-rank Redbook player such as the Memory Player from Nova Physics. (Charlie, I haven't heard yours...)

I may write a letter of response to the JAES!

clark, AES Lifetime Member



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