Jim Austin

Among many other honors, Johnston was selected to present the Richard Heyser Memorial Lecture at the 2012 AES convention—an honor shared by our own John Atkinson, who had given that lecture the previous year and was one of the participants in this email conversation. The other was Tom Fine—so, it was me and two sound engineers.

I recently received a letter (not yet published) suggesting a need for a glossary of newer hi-fi terms. Some audiophiles raised on physical media, it seems, are perplexed by descriptions of the new streaming landscape. Just yesterday, all we had to worry about was DACs and transports. Today we have servers, streamers, players, streaming DACs, and all that. That immediately struck me as a good idea, allied with a second reason: To avoid confusion, it makes sense for the industry to standardize the nomenclature. When we see the word "streamer," for example, we should all be thinking about the same thing.

So, here's a brief glossary of streaming-related devices.

On this page in Stereophile's December 2023 issue, contributing editor (and mastering engineer) Tom Fine and I described a press event at which Apple Corps (the Beatles umbrella corporation) presented the news about the (at the time) forthcoming new Beatles single and the forthcoming "remixed" reissues of the "Red" and "Blue" Beatles compilations. Tom attended the event—which, notably, was held at Dolby headquarters here in New York City, reflecting, apparently, Apple Corps' interest in Dolby Atmos. At the event, demos were presented in the Atmos format only—no stereo.

A key point of that column was that Apple Corps, at least—and who knows how many others in the music industry—are abandoning high-quality Atmos in favor of that streamed by Apple Music. Tom and I criticized this development in no uncertain terms, concluding that if Apple's lossy-compressed version of Dolby Atmos is what we're being offered, "we should hope for its demise."

A few months ago, the hi-fi world learned that Audio Research, perhaps the most storied hi-fi brand in US history (McIntosh would be the other choice), had a new owner. The company had overextended itself, then filed for "Assignment for the Benefit of Creditors"—somewhat like Chapter 11 bankruptcy but different. The company was then acquired by a group led by a Canadian, Valerio Cora of Acora Acoustics. In the September issue's Industry Update, I wrote, "Audio Research, that great American hi-fi company, is now Canadian."

Not long after the issue came out, I received a note from Dave Gordon of Audio Research Corporation. With typical good humor, Dave suggested that my characterization was not correct—that ARC is not in fact Canadian. Why? Because Audio Research's parent company is based in ... Delaware?