My 2018 Box Set is all eight seasons of House. I watched my way through S1 during the Great Flu, and have despatched the first disc of S2 already. Dr Greg House is supposed to be the best diagnostician in the USA, and the question that will occur to you and me is, well, is he a Dreyfussian ‘expert’.
Hubert Dreyfus is a phenomenologist whose most well-known work came from trying to understand the failure of so-called ‘expert systems’ that, in the 1960’s and 1970’s, were going to replace everyone by now. And yet haven’t. The reason that rule-based, as opposed to computationally-heavy algorithms, failed, Dreyfus suggested, was that experts don’t use rules. More than that, the process of becoming an expert involved abandoning detached rule-based decisions and replacing it with a huge stock of special cases and a sophisticated pattern-matching process that the human brain seems to be good at creating but can’t be reduced to rules.
In Dreyfus’ model there are five stages to acquiring and practicing a skill. The novice is given simple techniques and processes to use and explicit rules about when these can be used; the advanced beginner has a larger stock of techniques and processes, and has added an amount of judgement in how these are used to deal with the tasks they are given; competency begins when the practitioner has too many rules and conditions and must make a decision about how to solve the problem in front of them (and it becomes problem-solving because it’s not immediately obvious which rules apply and which techniques will work). This stage must involve emotional engagement to be effective: the practitioner must experience hope and upset during its progress, and satisfaction or disappointment at the result. The emotional involvement is what seems to set the more complex learning processes going.
At the proficient stage, the act of recognising what kind of problem it is becomes more and more automatic, but the practitioner still needs to think about what to do, and may apply rules to determine the action. (“Ah yes, it’s Watkins’ Irritation: do we use hapagobulin or leave it to pass on its own?”) The Expert passes straight from seeing the situation to prescribing the action: to the Novice, the Expert “just seems to know what to do”.
So back to Dr Greg House. Each episode of House has a period of Shakespearean comic relief, called the Clinic. House has to see regular patients and treat them. These he dispatches within the minute: a glance at the person, listen to the symptoms, and he has the answer. “Your husband in cheating on you, you’re losing sleep and taking too many pills” or something similar. We’ve seen this before: it’s Sherlock Holmes. Holmes combined acute observation with a huge amount of background knowledge and experience to tell people things about themselves they thought were hidden. Conan Doyle called it ‘deduction’, but it wasn’t. It was Dreyfusian expertise, reconstructed as deduction for the benefit of the audience. Faced with regular life, House is smart as a whip.
Each episode of House also has the Puzzling Patient. This is the patient whose symptoms don’t make sense. House and his team spend the episode trying and rejecting one hypothesis after another, often with dramatic effects on the patient. The Puzzling Patient defeats the experts because their symptoms don’t fit one paradigm or another: there’s always a symptom missing or a symptom left over. Sometimes the patient has been treated before for something that matched some of their symptoms. In other words, the Puzzling Patient disables the Expert’s expertise.
So now there’s nothing for it but experiment. When the experiment goes wrong, the team react immediately and correctly. Faced with an episode that their Expert can recognise, they respond as Experts. And if the experiments don’t work, it’s time for the oddest feature of the show, the break-in to the patient’s living quarters. House’s catchphrase is ‘Everybody Lies’. It’s a way for him to remember that the patient may not be telling him everything they need to. In one episode, a Mexican handyman never mentions that he works at an illegal cock-fighting event Saturday nights. If he had, House would have immediately suspected a reasonably well-known problem. So the break-ins and other devices are there to find something the patient isn’t saying, or may not even know is relevant.
And when the final piece of information is found, the diagnosis is immediate and dealt with Expertly. Each episode of House is about the search for the missing fact that will make the Puzzling Patient no longer Puzzling, but an instance of one of the thousands of special cases in House’s Expert list.
And it all, so far, ends happily ever after.
DISCLAIMER: Yes I know the hospital in House bears the same resemblance to reality as the CSI lab in CSI: Vegas does to real CSI Labs; and that any doctor who behaved like House would be out on his ear in a month. This is TV, not a reality show.
Monday, 15 January 2018
Thursday, 11 January 2018
December 2017 Review
The month started on a high note. I saw the Basquiat exhibition Boom For Real at the Barbican, followed by lunch at the Cote Brasserie across the road. The exhibition deserves its status as “the one to see” and that many people new to art will remember for a long while. I find the Barbican itself now doesn’t deserve the brickbats that used to get thrown at it. And I had no idea there was an ornamental lake in the middle.
I read Joshua Ferris’ To Rise Again At A Decent Hour; Michael Lewis’ The Undoing Project, about Daniel Kahneman and Amos Tversky; Svetlana Katok’s p-adic Analysis Compared With Real, which is very clear, should you want to learn about p-adic numbers; started Charles Hugh Smith’s Money and Work Unchained; and finished Richard Yates’ Eleven Kinds of Loneliness. And I continued my bedtime reading of the first volume of G W F Hegel’s Aesthetics. I read and looked at the pictures in Julian Schnabel’s C.V.J. Nicknames of Maitre D’s and Other Excerpts From Life, and read the book of the Basquiat exhibition, also titled Boom For Real.
I saw S1 of House; 1992, a series about that pivotal year in Italian history; and Suicide Squad and Fandango on DVD.
Sis and I dined at the Marleybone Picture, which was an experience we will be repeating. Sis cooked Christmas lunch and we all fell asleep watching TV.
Then the sickness and fever hit, and I was not really recovered until about the 31st. I made myself go to the gym every morning from the 28th to the 31st, and was pretty darn weak the first couple of days.
Now here’s why I do this. Because in my memory, December was a horrible write-off. But in fact, while I was well, I did a reasonable amount of reading and was not totally inactive. It was a horrible flu, and no consolation that others had it as well.
I read Joshua Ferris’ To Rise Again At A Decent Hour; Michael Lewis’ The Undoing Project, about Daniel Kahneman and Amos Tversky; Svetlana Katok’s p-adic Analysis Compared With Real, which is very clear, should you want to learn about p-adic numbers; started Charles Hugh Smith’s Money and Work Unchained; and finished Richard Yates’ Eleven Kinds of Loneliness. And I continued my bedtime reading of the first volume of G W F Hegel’s Aesthetics. I read and looked at the pictures in Julian Schnabel’s C.V.J. Nicknames of Maitre D’s and Other Excerpts From Life, and read the book of the Basquiat exhibition, also titled Boom For Real.
I saw S1 of House; 1992, a series about that pivotal year in Italian history; and Suicide Squad and Fandango on DVD.
Sis and I dined at the Marleybone Picture, which was an experience we will be repeating. Sis cooked Christmas lunch and we all fell asleep watching TV.
Then the sickness and fever hit, and I was not really recovered until about the 31st. I made myself go to the gym every morning from the 28th to the 31st, and was pretty darn weak the first couple of days.
Now here’s why I do this. Because in my memory, December was a horrible write-off. But in fact, while I was well, I did a reasonable amount of reading and was not totally inactive. It was a horrible flu, and no consolation that others had it as well.
Monday, 8 January 2018
Thoughts at the Start of 2018
Entrepeneurs in Cars had a list of six lessons learned in 2017. Three caught my attention:
1. Only a very small proportion of men are willing to do the work to make themselves a better version of themselves
2. Manage your energy - give a frak only when it’s going to benefit you
3. If it’s not Hell Yeah, it’s Frak No
And I’m going to take the first and third as somewhere to start.
Am I one of that small proportion of men prepared to do the work to be a better version of myself? Ask what I would look like if I wasn’t sober, exercising, single and employed. I’d be a mess. I’d be on filthy drugs with names ending in ‘statin’ or ‘formin’. I would have no muscle tone, I would have a gut, with even worse body-fat than I have now. I would be paying alimony, living in a squalid flat because that’s all I could afford after the divorce. I would be alone in an empty marriage. If I wasn’t sober, I’d be dead. And don’t doubt that. Ever. I would be mostly unemployed, with occasional breaks of clerical work through agencies: if I was lucky, I’d have a postal round.
You know what? I pretty much am a better version of myself. Actually, as long as I’m sober, I a better version of myself. Two things.
First, maintenance is a bitch. When you’re ‘better’, very few of your options take you to ‘even better’, and those are hard work. Enough is enough. Better is the enemy of the good (old Russian proverb). And so on.
Second, I’m not having as much fun as I could be, in fact, I’m rather good at denying myself fun. Some of that is due to the habits of denial acquired by wearing dental braces for eighteen months. Some of it is about logistics, and I’ll get to those.
Next. If it’s not Hell Yeah, it’s Frak No. Now I like this. The idea is that if I’m not immediately up for whatever it is, I don’t talk myself into it because what else am I doing? What this made clear to me is that there are some things I want to do, but talk myself out of, usually on the basis of cost and logistics. I may need to reverse the maxim: if it’s not Frak No, it’s Hell Yeah.
My idea of fun is cultural consumption. That includes good food in nice restaurants. A good few years ago, the culture industry jacked the prices up: £18 for an art movie? £72+ for Shen Yun at the Dominion Theatre? £33 for a concert at the Wigmore Hall? I don’t demur at the prices for modern dance at Sadlers Wells, but that’s because it’s My Thing and there’s no alternative. For £33 I can get a top-end Wagner opera on CD. Wait a few months and I can get the movie on DVD for £10 or less in Fopp. (You can tell I’m a Pricing Guy.) And usually there’s more than the ticket price. If it’s mid-week, I park in Richmond so I can avoid the ultimate buzz-kill of travelling from Waterloo after 20:00. That’s nearly £14. And there’s a supper as well, say £10 or so even for a pizza. Going out in London is expensive.
To which I tell myself, either spend the money or find some other kind of fun.
Logistics. I wake up at 05:30, do a day’s work, and you expect me to be looking forward to a two-hour show at 19:30 and a return commute at 22:00? Especially with a session at the gym and a light meal to pass the time between leaving work and the start of the show. That’s a long, long day, and there ain’t no sleeping-in the next morning. Last year I trapped myself into trying to wake up refreshed and relaxed. As if I could do that with an extra sleep cycle. But dragging one’s ass out of bed into the kitchen every morning can lead to the belief that There Must Be Something I Can Do. There isn’t, but I fell for it. Trying to get enough sleep and wake up at 05:30 means no activity in the evening at all. Late afternoon at the latest. Movies that start at 18:30 in town are verboten. Even 18:30 locally could be a bit late.
I think the objection-by-logistics is an excuse for not doing something. I live where I live, not in central London. This is one of those suck-it-up things. And right now, it’s damn cold, and that makes any kind of going out feel like a really bad idea.
No pretty, full-of-motivation conclusions, but for the moment that’s where I am.
1. Only a very small proportion of men are willing to do the work to make themselves a better version of themselves
2. Manage your energy - give a frak only when it’s going to benefit you
3. If it’s not Hell Yeah, it’s Frak No
And I’m going to take the first and third as somewhere to start.
Am I one of that small proportion of men prepared to do the work to be a better version of myself? Ask what I would look like if I wasn’t sober, exercising, single and employed. I’d be a mess. I’d be on filthy drugs with names ending in ‘statin’ or ‘formin’. I would have no muscle tone, I would have a gut, with even worse body-fat than I have now. I would be paying alimony, living in a squalid flat because that’s all I could afford after the divorce. I would be alone in an empty marriage. If I wasn’t sober, I’d be dead. And don’t doubt that. Ever. I would be mostly unemployed, with occasional breaks of clerical work through agencies: if I was lucky, I’d have a postal round.
You know what? I pretty much am a better version of myself. Actually, as long as I’m sober, I a better version of myself. Two things.
First, maintenance is a bitch. When you’re ‘better’, very few of your options take you to ‘even better’, and those are hard work. Enough is enough. Better is the enemy of the good (old Russian proverb). And so on.
Second, I’m not having as much fun as I could be, in fact, I’m rather good at denying myself fun. Some of that is due to the habits of denial acquired by wearing dental braces for eighteen months. Some of it is about logistics, and I’ll get to those.
Next. If it’s not Hell Yeah, it’s Frak No. Now I like this. The idea is that if I’m not immediately up for whatever it is, I don’t talk myself into it because what else am I doing? What this made clear to me is that there are some things I want to do, but talk myself out of, usually on the basis of cost and logistics. I may need to reverse the maxim: if it’s not Frak No, it’s Hell Yeah.
My idea of fun is cultural consumption. That includes good food in nice restaurants. A good few years ago, the culture industry jacked the prices up: £18 for an art movie? £72+ for Shen Yun at the Dominion Theatre? £33 for a concert at the Wigmore Hall? I don’t demur at the prices for modern dance at Sadlers Wells, but that’s because it’s My Thing and there’s no alternative. For £33 I can get a top-end Wagner opera on CD. Wait a few months and I can get the movie on DVD for £10 or less in Fopp. (You can tell I’m a Pricing Guy.) And usually there’s more than the ticket price. If it’s mid-week, I park in Richmond so I can avoid the ultimate buzz-kill of travelling from Waterloo after 20:00. That’s nearly £14. And there’s a supper as well, say £10 or so even for a pizza. Going out in London is expensive.
To which I tell myself, either spend the money or find some other kind of fun.
Logistics. I wake up at 05:30, do a day’s work, and you expect me to be looking forward to a two-hour show at 19:30 and a return commute at 22:00? Especially with a session at the gym and a light meal to pass the time between leaving work and the start of the show. That’s a long, long day, and there ain’t no sleeping-in the next morning. Last year I trapped myself into trying to wake up refreshed and relaxed. As if I could do that with an extra sleep cycle. But dragging one’s ass out of bed into the kitchen every morning can lead to the belief that There Must Be Something I Can Do. There isn’t, but I fell for it. Trying to get enough sleep and wake up at 05:30 means no activity in the evening at all. Late afternoon at the latest. Movies that start at 18:30 in town are verboten. Even 18:30 locally could be a bit late.
I think the objection-by-logistics is an excuse for not doing something. I live where I live, not in central London. This is one of those suck-it-up things. And right now, it’s damn cold, and that makes any kind of going out feel like a really bad idea.
No pretty, full-of-motivation conclusions, but for the moment that’s where I am.
Monday, 1 January 2018
A Happy and Prosperous 2018
A Happy and Prosperous 2018 to you all.
Start your year with some Moody Blues
I don’t think I listened to this after 1970, and then I found it on Tidal. Maybe this is buried in my unconscious, or just maybe it’s a good album, even if some of the lyrics could be twee even by late 1960’s standards. Their other albums are not as good, though ‘Nights in White Satin’ is one of those Singles That Made The Sixties.
(If the playlist doesn't work, look it up on your streaming service.)
(If the playlist doesn't work, look it up on your streaming service.)
Thursday, 21 December 2017
November 2017 Diary
Next month’s diary will explain why this one took so long. November was 80’s music month. Instead of Radio Three, I had Heart 80’s on first thing in the morning, and played a bunch of 80’s stuff on Tidal as well. And my considered opinion is that 80’s music was The Best. 60’s music was the most groundbreaking; 70’s music when good was transcendent, but so little of it was; by the 90’s the music scene was fracturing into a zillion genres, so that by the 00’s I could be following one genre and know nothing about what was in the charts, and care not a damn what the youth were listening to.
I watched my way through S5 of Elementary like eating candy: it Lucy Liu and is well written, has silly plot lines, Lucy Liu, Johnny Millar portraying an addict rather well, and I may have forgotten to mention Lucy Liu. Because it has her, in case you wanted to know.
I read Michael Lewis’ The Undoing Project, and Tversky and Kahnemann; The Bell Curve, by Herrnstein and Murray; Richard Blandford’s London In The Company of Painters; made a start on Richard Yates’ Eleven Kinds of Loneliness, which I finished in December; and set myself the first volume of Hegel’s Aesthetics as bedtime reading, knocks me out in ten minutes but not before I feel I’ve read something profound.
Tidal added the entire ECM catalogue. If you don't know what that means, keep quiet until you find out, or people may never talk to you again. I spent a day or so going through John Surman's back catalogue just because I could.
I watched Suicide Squad on DVD. No movies. Sis and I had supper at Demartino on Great Portland Street, because it’s run by a guy who goes to my gym, and good hearty Italian food it is too. I caught up with a couple of former colleagues at Encant on Maiden Lane - he was out of ice cream, but the lamb chops were terrific.
I was trying to get to sleep earlier, and I am watching a fair amount of You Tube junk to pass the time, as you can gather from some of the posts, and I don’t mean that the content is junk, but that I “ought” to be watching or reading more sustained content. But then at the end of some days I'm just brain-dead, and listening to Paul Elam having a good rant is just about my level.
I watched my way through S5 of Elementary like eating candy: it Lucy Liu and is well written, has silly plot lines, Lucy Liu, Johnny Millar portraying an addict rather well, and I may have forgotten to mention Lucy Liu. Because it has her, in case you wanted to know.
I read Michael Lewis’ The Undoing Project, and Tversky and Kahnemann; The Bell Curve, by Herrnstein and Murray; Richard Blandford’s London In The Company of Painters; made a start on Richard Yates’ Eleven Kinds of Loneliness, which I finished in December; and set myself the first volume of Hegel’s Aesthetics as bedtime reading, knocks me out in ten minutes but not before I feel I’ve read something profound.
Tidal added the entire ECM catalogue. If you don't know what that means, keep quiet until you find out, or people may never talk to you again. I spent a day or so going through John Surman's back catalogue just because I could.
I watched Suicide Squad on DVD. No movies. Sis and I had supper at Demartino on Great Portland Street, because it’s run by a guy who goes to my gym, and good hearty Italian food it is too. I caught up with a couple of former colleagues at Encant on Maiden Lane - he was out of ice cream, but the lamb chops were terrific.
I was trying to get to sleep earlier, and I am watching a fair amount of You Tube junk to pass the time, as you can gather from some of the posts, and I don’t mean that the content is junk, but that I “ought” to be watching or reading more sustained content. But then at the end of some days I'm just brain-dead, and listening to Paul Elam having a good rant is just about my level.
Monday, 18 December 2017
I May Never Feel Well Again
Sunday evening. Three days of spasmodic coughing and retching, a slight temperature, waking up at two in the morning, and unable to leave the house for sixty hours. And no sign of it easing. I can only drink hot water and eat potatoes and some cheese. The bits of fish I bought on Friday when, like an idiot, I thought I was going to be feeling healthy, those are now expired. I have to go to the supermarket tomorrow as I'm about to run out of Lemsip and paracetamol. There's a small window between about half past ten and midday when I can do that, and then it all goes away. This happens to me twice a year at least, sometime three. I don't know if my immune system is under-performing because I train and wake up at silly hours, but I take vitamins and eat right, so I doubt it. It's because I travel on trains with people who have military-grade viruses from Poland or Russia or Romania. But if I traveled on the other trains I'd be jammed between people with children who bring back viruses from school that are unknown to medical science. I could blame the awful air conditioning at the office, or the really cold weather we've been having, but I've been through cold weather before and not got these four-five day cough+cold+fever. I try to go to sleep in the evening and can't drop off because I haven't been active enough during the day. Nobody else gets colds like these at work, but Sis does, so maybe the vulnerability is genetic, but the rest of the world strides through other people's viruses and cold weather and rain and exercise and doesn't so much as sneeze. Don't even try to comfort me. I may never feel well again.
One of the most beautiful pieces of television is the first thirty or so minutes of Kenneth Clarke's Civilisation where he visits the remote islands of Celtic Christianity. That's how bad it is: I watched the first three episodes, which are amongst my favourite pieces of television ever. Now I'm going to let about half and hour pass and try to sleep. I'll be working from home tomorrow but really I'll be sleeping or dozing or coughing.
One of the most beautiful pieces of television is the first thirty or so minutes of Kenneth Clarke's Civilisation where he visits the remote islands of Celtic Christianity. That's how bad it is: I watched the first three episodes, which are amongst my favourite pieces of television ever. Now I'm going to let about half and hour pass and try to sleep. I'll be working from home tomorrow but really I'll be sleeping or dozing or coughing.
Thursday, 14 December 2017
Upgrading Hi-Fi Interconnects
In this video
Hans Beekhuysen describes how he gets rid of excess sibilance (that “sssss” sound) that can appear even on audiophile records such as Jennifer Warnes’ Famous Blue Raincoat. Since his systems are already hi-end, he chooses to upgrade the interconnects, by spending over £1,000 on cables from Audio Quest and a LAN Adapter from Pink. He says these make a difference to the sound, and he does this for a living, so I’m going to take his word for it.
There’s a lot of scepticism about the improvement an interconnect can make. Cable isn’t passive. Like any electrical component, it has resistance, capacitance and inductance, however small, and the effect of last two vary with the frequency of the signal. Resistance causes loss of power by turning the current to heat, while inductance and capacitance cause a phase shift that changes with frequency, distorting the waveform that makes the ‘digital' signal. This might be enough to cause a change in the content of the signal at some points, turning a 0 into a 1, which will be converted by the DAC to an analogue waveform that gets passed to the amplifier and passed to the loudspeakers. The interconnects cannot make the signal better, only leave it the same, or make it worse.
So if a change of interconnect seems to improve the signal, it means a two things: a) the digital signal from the source must be of a very high quality, and b) the amplifier, speaker cables and speakers must also be high quality. What does ‘high quality’ mean? That they must be able to respond faithfully to the tiny changes in signal that changing the interconnects produces. They must have a great deal of precision and low intrinsic noise from thermal effects, power voltage variations and so on. Using a £500 interconnect between an iPhone headphone jack and a low-end amplifier from Sainsburys is silly: all it will do is more faithfully transmit the distortions of the low-quality iPhone DAC. Using expensive interconnects between high-end kit might make a noticeable difference, as it more faithfully transmits a high-quality signal.
£1,000 is slightly more than I spent on my Marantz / B&W kit. It makes no sense for me to buy expensive interconnects, because, though the Marantz CD6005 blew away the Marantz CD5005 it replaced, and that blew away the Cambridge Audio player, which blew the Denon I had before that, I doubt the CD6005 has the industry’s best DAC. It might help to get some better interconnects, rather than the usual grey cable ones provided, just as one should set aside the Apple ear buds as reserves and buy some decent ear phones from Bose, Sennheiser or other manufacturers who know what they are doing.
I suspect that audio equipment is a lot like cars: there’s low-price stuff that doesn’t drive or perform well and is uncomfortable, and there are Rolls-Royces and Ferraris, but mostly there are solid, mid-range cars that keep getting better and better, but will never be a Bugatti. On the other hand, a modern Fiat Punto will leave most 1960’s sports cars in the rear-view mirror, will brake harder and corner faster, and only E-type Jaguars and AC Cobras will leave it behind. (Don’t believe me? An early 1960’s E-type with a 3.8 litre engine did 0-60 in 7.1 seconds. A 2010 Fiato Punto 1.4 Evo does 0-60 in 8.5 seconds. As for the aerodynamics of those 1960’s cars? Awful.) Streaming 320kps MP3 through my iPad and a Dragonfly DAC gives me a better signal than my 1970’s Goldring Lenco turntable with its Shure cartridge and diamond stylus.
With modern manufacturing techniques, I’m fairly sure there’s no significant additional overhead to making a high-end cable out of some superior materials - the difference will be the cost of the materials, and that will be far less than the difference in price the market will pay for a high-end interconnect. Supplying the small audiophile market with a £500 interconnect can still be profitable, and it also serves to re-position the price of the mid-range stuff - suddenly £100 doesn’t look so bad. I think this is the real reason expensive interconnects are produced: it’s a great marketing device, and makes a unit profit. It may even actually make a difference.
Hans Beekhuysen describes how he gets rid of excess sibilance (that “sssss” sound) that can appear even on audiophile records such as Jennifer Warnes’ Famous Blue Raincoat. Since his systems are already hi-end, he chooses to upgrade the interconnects, by spending over £1,000 on cables from Audio Quest and a LAN Adapter from Pink. He says these make a difference to the sound, and he does this for a living, so I’m going to take his word for it.
There’s a lot of scepticism about the improvement an interconnect can make. Cable isn’t passive. Like any electrical component, it has resistance, capacitance and inductance, however small, and the effect of last two vary with the frequency of the signal. Resistance causes loss of power by turning the current to heat, while inductance and capacitance cause a phase shift that changes with frequency, distorting the waveform that makes the ‘digital' signal. This might be enough to cause a change in the content of the signal at some points, turning a 0 into a 1, which will be converted by the DAC to an analogue waveform that gets passed to the amplifier and passed to the loudspeakers. The interconnects cannot make the signal better, only leave it the same, or make it worse.
So if a change of interconnect seems to improve the signal, it means a two things: a) the digital signal from the source must be of a very high quality, and b) the amplifier, speaker cables and speakers must also be high quality. What does ‘high quality’ mean? That they must be able to respond faithfully to the tiny changes in signal that changing the interconnects produces. They must have a great deal of precision and low intrinsic noise from thermal effects, power voltage variations and so on. Using a £500 interconnect between an iPhone headphone jack and a low-end amplifier from Sainsburys is silly: all it will do is more faithfully transmit the distortions of the low-quality iPhone DAC. Using expensive interconnects between high-end kit might make a noticeable difference, as it more faithfully transmits a high-quality signal.
£1,000 is slightly more than I spent on my Marantz / B&W kit. It makes no sense for me to buy expensive interconnects, because, though the Marantz CD6005 blew away the Marantz CD5005 it replaced, and that blew away the Cambridge Audio player, which blew the Denon I had before that, I doubt the CD6005 has the industry’s best DAC. It might help to get some better interconnects, rather than the usual grey cable ones provided, just as one should set aside the Apple ear buds as reserves and buy some decent ear phones from Bose, Sennheiser or other manufacturers who know what they are doing.
I suspect that audio equipment is a lot like cars: there’s low-price stuff that doesn’t drive or perform well and is uncomfortable, and there are Rolls-Royces and Ferraris, but mostly there are solid, mid-range cars that keep getting better and better, but will never be a Bugatti. On the other hand, a modern Fiat Punto will leave most 1960’s sports cars in the rear-view mirror, will brake harder and corner faster, and only E-type Jaguars and AC Cobras will leave it behind. (Don’t believe me? An early 1960’s E-type with a 3.8 litre engine did 0-60 in 7.1 seconds. A 2010 Fiato Punto 1.4 Evo does 0-60 in 8.5 seconds. As for the aerodynamics of those 1960’s cars? Awful.) Streaming 320kps MP3 through my iPad and a Dragonfly DAC gives me a better signal than my 1970’s Goldring Lenco turntable with its Shure cartridge and diamond stylus.
With modern manufacturing techniques, I’m fairly sure there’s no significant additional overhead to making a high-end cable out of some superior materials - the difference will be the cost of the materials, and that will be far less than the difference in price the market will pay for a high-end interconnect. Supplying the small audiophile market with a £500 interconnect can still be profitable, and it also serves to re-position the price of the mid-range stuff - suddenly £100 doesn’t look so bad. I think this is the real reason expensive interconnects are produced: it’s a great marketing device, and makes a unit profit. It may even actually make a difference.
Subscribe to:
Posts (Atom)