John Atkinson

If there is one thing that raises the hackles of engineers, it is audiophiles' insistence that power cords affect sound quality. But at CES, AudioQuest's Garth Powell (right in photo, with AQ's Alex Brinkmann) was showing how changing just one cable in a system, the one connecting a Simaudio Moon CD player to a Niagara 700 power conditioner, could make or break the system's sound quality. Playing a track from Muddy Waters' Folk Singer, with Moon amplification and Magico S1 Mk.2 speakers, and without changing the volume, Garth compared AudioQuest's new Thunder cable ($700) with AC cables from other companies priced up to $18,000, culminating with the AudioQuest Dragon ($4000).

Some manufacturers weren't exhibiting at CES but did have suites elsewhere in the Venetian hotel. One such was Audio Research, who was showing the first amplifier to be designed following the passing of the company's long-time Senior Design Engineer, Ward Fiebiger, who died of a heart attack last March. The Ref160M monoblock offers around 150W into 8 ohms and will cost in the region of $30,000/pair.

An economy of information transmitted . . . what was encoded was only what was needed, nothing more. (footnote 1)

As I wrote in the January issue's "As We See It," Master Quality Authenticated (MQA), the encoding/decoding system developed by J. Robert (Bob) Stuart and Peter Craven, has been widely criticized, despite reports in this magazine and others that MQA-encoded files tend to sound better than the PCM originals from which they were derived. Also in last month's issue, Jim Austin investigated the time-domain performance of the MQA reconstruction filter and I examined some of the more general aspects, ending with: "Other criticisms of MQA involve its implications for the recording industry, for manufacturers of audio products, and for consumers. I will examine those in next month's 'As We See It.'"

"The fundamental problem of communication is that of reproducing at one point either exactly or approximately a message selected at another point."—Claude Shannon

Since its announcement at the end of 2014, Master Quality Authenticated, the MQA encoding/decoding system, has spawned outspoken criticism. Some of the more thoughtful negative reactions have come from engineers such as Dan Lavry, Bruno Putzeys, and Daniel Weiss. Others have been expressed by manufacturers of digital products: the late Charley Hansen at Ayre Acoustics, for example, along with Jason Stoddard and Mike Moffat at Schiit Audio, John Siau at Benchmark Media Systems, and Jim Collinson at Linn Products. Some have been audio writers: Doug Schneider, at SoundStage!, and Paul Miller and Jim Lesurf, at Hi-Fi News. Most vociferous have been anonymous website posters. As Jim Austin remarks in his examination of MQA's decoding of impulse-response data elsewhere in this issue, "the nastiness online is unprecedented."

One of the joys of reviewing loudspeakers is that there are always intriguing aspects of any particular design. The problems involved in producing a speaker that has an even tonal balance, well-controlled directivity, good bass extension, and a smooth integration of the outputs from often widely disparate drive-units have what appears to be an infinite number of solutions. The result is often a speaker so different from the norm that it just cries out to be auditioned.

Such was the case with the Delaware Acoustics DELAC S10, which costs $629/pair. Only sold factory-direct, this would therefore have been low on Stereophile's priority list for review if it weren't for two things: first, the fact that the S10 was designed by one Ralph Gonzalez, a name that should be familiar to readers of Speaker Builder magazine for having written a very useful speaker design and analysis program; second, as implied in the first paragraph, the S10 is one of the weirdest speakers I have ever laid ears on.

On Wednesday, November 29, I received the following announcement from Ayre's Brent Hefley: "With heavy hearts, we regret to inform you that Charles Hansen, founder of Ayre Acoustics, has passed away on November 28th, 2017. Those who knew Charley knew that he was a passionate man who always stood up for what he believed to be right. His family knew him as a loving and dedicated father of his two children. With the passing of Charley, the world has lost one of the most creative and innovative minds in the audio industry and we have lost a good friend."

Back in May 2014, I reviewed NAD's Masters Series M50 Digital Music Player ($2499) and M52 Digital Music Vault ($1999 with 2TB storage). At the 2017 Consumer Electronics Show, NAD announced the M50.2, which is almost identical to the original M50 but now incorporates two 2TB hard disks, arranged as a 2TB RAID array, to ensure data integrity, and adds TosLink and coaxial digital inputs, Bluetooth with aptX for streaming music from a smartphone or tablet, and two single-ended analog inputs—all for $3999, or $499 less than the combined cost of the two earlier products. Like the M50, the M50.2 offers WiFi and Ethernet connectivity, and has a CD drive, accessible via a slot on the front panel under the color TFT touchscreen, that can be used to play CDs, or rip them as FLAC, WAV, or high-bit-rate MP3 files.