Explore every episode of the podcast The HiFi Hobbyist Podcast

The transmission line loudspeaker represents one of audio engineering’s most fascinating attempts to solve a fundamental acoustic problem. Engineers must produce deep, uncoloured low-frequency sound from an enclosure without letting the driver's rear wave interfere with the front wave.

This topic holds personal interest for me because I recently purchased a pair of PMC Prophecy 5 loudspeakers. The transmission line serves as a trademark design for PMC across both domestic hi-fi and professional audio.

In this first episode, we will look at the problem that the transmission line loudspeaker overcomes and examine how it compares to other solutions. In the next episode, we will explore how these speakers have developed over time. Afterwards, I will reflect on how the PMC Prophecy 5 speakers sound in my own system before opening a debate on the merits of transmission line designs.

This episode features traditional English folk songs arranged by the Hi-Fi Hobbyist with the help of Mureka AI software. The songs featured are: The Goose and Common; The Dalesman's Litany; The Oaks Pit Disaster; The Lancashire Lads and Spence Broughton.

We hope that you enjoy these episodes!

Welcome to The final episode in our mini-series about the production of vinyl records and other physical media music formats. It has been inspired by attending a talk by Miles Showell, a renowned audio engineer who reminded me that my Hi-Fi only sounds as good as the material as I play on it.

In this mini-series in the first episode, we considered how vinyl records are produced from the recording session to the production of the final record that we can play on our turntables. The following episode focused on specific aspects of production notably mastering of the recording in preparation for final production.

The third episode focused on the work of two of the great audio engineers associated with the mastering process, Steven Wilson and Miles Showell.

In this final episode, in order to conclude the series, we will generate a discussion comparing the work of these two artisans.

In recognition of Miles’ work on Finlandia, the music accompanying this episode is a recording of this suite that he didn’t work on, downloaded from the Internet Archive by the London Proms Symphony Orchestra, conducted by Charles Mackerras originally released on London Records – STS 15159, together with Two Melodies, Op. 63, No. 2 from the same recording.

We hope that you enjoy the discussion, and if this is your first visit to the Hi-Fi Hobbyist podcast, that you will explore previous episodes. To ensure that you don't miss any episodes in the future, please follow our podcast wherever you listen to them.

Welcome to the third episode in this mini-series about the production of vinyl records and other physical media music formats. It has been inspired by attending a talk by Miles Showell, a renowned audio engineer which reminded me that my Hi-Fi only sounds as good as the material as I play on it.

In this episode, we will compare Miles’s work to that of another great audio engineer, Steve Wilson. If you haven’t listened to last week’s episode, I do recommend that you go back and listen to that first, as we will revisit some of the topics discussed last week, this time with practical examples.

In next week’s episode, we will generate a discussion comparing the work of these two artisans.

The music accompanying this episode features extracts from the Planets Suite by Gustav Holst. Our audio extracts are provided by Musopen.org and played by the USAF Band and the Skidmore College Orchestra. These recordings are in the public domain.

Welcome to the second episode in this mini-series about the production of vinyl records and other physical media music formats. It has been inspired by attending a talk by Miles Showell, a renowned audio engineer which reminded me that my Hi-Fi only Sounds as good as the material as I play on it.

In this episode, we will focus on specific aspects of production notably mastering of the recording in preparation for final production. If you haven’t listened to last week’s episode, I do recommend that you go back and listen, but you can listen to this one first, if you like!

In next week’s episode, we will focus on the work of two of the great audio engineers associated with the mastering process, Steve Wilson and Miles Showell.

After this, to conclude the series, we will generate a discussion comparing the work of these two artisans.

The music accompanying this episode has been generated by the Hi-Fi Hobbyist with the help of Mureka AI software. We revisit some of the brass band music, which has proved most popular on our partner Pixabay site, under the tag mediahobbyist

We hope that you enjoy this mini-series and if this is your first visit to the Hi-Fi Hobbyist podcast that you will explore previous episodes. To ensure that you don't miss any episodes in the future please follow our podcast wherever you listen to them.

Welcome to this mini-series about the production of vinyl records and other physical media music formats. It has been inspired by attending a talk by Miles Showell, a renowned audio engineer who reminded me that my Hi-Fi only sounds as good as the material as I play on it.

In this mini-series in the first episode, we will consider how vinyl records are produced from the recording session to the production of the final record that we can play on our turntables. The following episode will then focus on specific aspects of production notably mastering of the recording in preparation for final production.

The third episode we will focus on the work of two of the great audio engineers associated with the mastering process, Steve Wilson and Miles Showell.

To conclude the series, we will generate a discussion comparing the work of these two artisans.

The music accompanying this first episode has been generated by the Hi-Fi Hobbyist with the help of Mureka AI software. It features a couple of musical sweets in a baroque style played by a trio of violin, flute, and harpsichord.

We hope that you enjoy these episodes and if this is your first visit to the Hi-Fi Hobbyist podcast that you will explore previous episodes. To ensure that you don't miss any episodes in the future please follow our podcast wherever you listen to them.

In the first part of this episode, we will consider the role of the master tape in the recording process.

In recent years, Samsung has emerged as a major player in the global hi-fi marketplace. This episode is the third in a series of podcasts that seek to understand how and why this has happened and what the implications are for Hi-Fi hobbyists. The Hi-Fi Hobbyist has a personal interest here, Mark Levinson, the manufacturer of my amplifier, is one of the brands acquired by Samsung.

In the first episode of the series, we considered the history of Samsung from a local company in Korea to major electronics conglomerate and their acquisition of Hi-Fi brands.

After this, we considered what this means for both Samsung and for Hi-Fi Hobbyists now and in the future.

This third episode is a generated discussion about the implications for their Hi-Fi brands, and their Hi-Fi hobbyist customers.

The music that accompanies this podcast is more from the 24 Caprices for Solo Violin written by Niccolò Paganini between 1802 and 1817.  The recordings were recorded, produced and published by Gregor Quendel, and distributed by classics.de. They are included here under a Creative Commons - Attribution-Non-commercial 4.0 International licence

We hope that you enjoy the podcast.  If you do, and this is your first episode, please go back and listen to previous podcast episodes. To avoid missing any episodes in the future, please follow us wherever you listen to your podcasts.

In recent years, Samsung has emerged as a major player in the global hi-fi marketplace. This podcast mini-series seeks to understand how and why this has happened and what the implications are for Hi-Fi hobbyists. The Hi-Fi Hobbyist has a personal interest here: Mark Levinson, the manufacturer of my amplifier, is one of the brands acquired by Samsung.

In last week’s episode, we considered the history of Samsung from a local company in Korea to major electronics conglomerate. After this, we considered how they acquired their portfolio of Hi-Fi brands.

In this week’s episode, we will consider what this means for both Samsung and for Hi-Fi Hobbyists now and in the future.

The music that accompanies this podcast is designed to recreate two of the great jazz genres of the 1920s and 1930s, Dixieland jazz and Boogie Woogie piano. The music was created by the Hi-Fi Hobbyist for this podcast using Mureka AI software.

We hope that you enjoy the podcast.  If you haven’t listened to last week’s episode, please do go back and listen to this and other previous podcast episodes. To avoid missing any episodes, please follow us wherever you listen to your podcasts.

In recent years, Samsung has emerged as a major player in the global hi-fi marketplace. This podcast seeks to understand how and why this has happened and what the implications are for Hi-Fi hobbyists. The Hi-Fi Hobbyist has a personal interest here, Mark Levinson, the manufacturer of my amplifier, is one of the brands acquired by Samsung.

In this first episode, we shall consider the history of Samsung from a local company in Korea to major electronics conglomerate. After this we will consider in more detail their acquisition of Hi-Fi brands.

In next weeks’ episode, we will consider what this means for both Samsung and for Hi-Fi Hobbyists now and in the future

The music that accompanies this podcast is from the 24 Caprices for Solo Violin written by Niccolò Paganini between 1802 and 1817.  The recordings were recorded, produced and published by Gregor Quendel, and distributed by classics.de. They are included here under a Creative Commons - Attribution-Non-commercial 4.0 International licence

We hope that you enjoy the podcast.  If you do, please come back for next week’s episode, or go back and listen to previous podcast episodes. To avoid missing any episodes, please follow us wherever you listen to your podcasts.

Back in December, the Hi-Fi Hobbyist podcast took a first look at the use of valves and transistors in Hi-Fi components. Valves or strictly thermionic valves are the British terms for what U.S. Hi-Fi Hobbyists call vacuum tubes.

In this series of episodes, we are taking a deeper, more detailed look at the topic. In the first episode, we looked at the underlying scientific theory, and the theoretical implications for sound quality.

In last week's episode, we looked at examples of real-world amplifiers and considered why the reality is more complex than the basic science might suggest.

In this final episode, we have fed the data to two AI protagonists and prompted them to debate the merits of valves and transistors. This debate is conducted in American English, so unlike the previous two episodes, this debate sometimes uses the terminology of vacuum tubes alongside valves.

In this episode, the music accompanying the podcast is classical music supplied by classicals.de. It features the 1924 arrangement of Gershwin’s Rhapsody in Blue for two pianos. Rhapsody in Blue was originally written as a composition for solo piano and jazz band.  It was commissioned by bandleader Paul Whiteman, the work combines elements of classical music with jazz-influenced effects and premiered in a concert titled "An Experiment in Modern Music" on February 12, 1924, in Aeolian Hall, New York City.

This recording has been made for CLASSICALS.DE and released in 2025 under a Creative Commons - Attribution-Non Commercial 4.0 International licence.

It has been chosen because pianos are often cited as a difficult instrument for Hi-Fi systems to reproduce.

In order to make sure that you don’t miss any future episodes why don’t you follow the Hi-Fi Hobbyist podcast wherever you listen to your podcasts?

Back in December, the Hi-Fi Hobbyist podcast took a first look at the use of valves and transistors in Hi-Fi components. Valves or strictly thermionic valves are the British terms for what U.S. Hi-Fi Hobbyists call vacuum tubes. We will use the term “valve” throughout these podcast episodes.

In this series of episodes, we are taking a deeper more detailed look at the topic. In last week’s episode, we looked at the underlying scientific theory, and the theoretical implications for sound quality.

In this week’s episode, we will start by looking at examples of real-world amplifiers and then consider why the reality is more complex than the basic science might suggest.

In the final episode, we will feed the data to two AI protagonists and let them debate the merits of valves and transistors.

In this episode, the music accompanying the podcast is music created by the Hi-Fi Hobbyist with the help of Mureka AI to evoke the rock and pop music from the 1970s and 1980s.

It starts with a largely acoustic track that borrows from the roots of rock and roll, before gradually moving on to different forms of rock, first southern rock, then the kind of smooth rock that characterised many American bands in the 1970s, before finishing with a good old British style rock track. This kind of music has traditionally been thought to be better reproduced by transistor amplifiers than valve amplifiers.

Back in December, the Hi-Fi Hobbyist podcast took a first look at the use of valves and transistors in Hi-Fi components. Valves or strictly thermionic valves are the British terms for what U.S. Hi-Fi Hobbyists call vacuum tubes. We will use the term “valve” throughout these podcast episodes.

In this series of episodes, we will take the chance to take a deeper more detailed look at the topic. In this first episode we will look at the underlying scientific theory, and the theoretical implications for sound quality.

In the next we will start by looking at reviews of real-world amplifiers and then consider why the reality is more complex than the basic science might suggest.

In the final episode, we will feed the data to two AI protagonists and let them debate the merits of valves and transistors.

In this first episode, the music accompanying the podcast is Big Band swing music created by the Hi-Fi Hobbyist with the help of Mureka AI to evoke the era when valve amplifiers were the only technology available.

This podcast is the last in a series that seeks to explore the rise of Japanese Hi Fi, understand how this occurred, and to look at the lessons from history about the current rise of the Chinese Hi-Fi industry,

In this episode, we will consider the parallels between the growth of the Japanese Hi-Fi Industry of the twentieth century and the emergent Chinese industry of the 2020s.by prompting an AI discussion to focus specifically on these parallels.

The discussion is created by inputting the series of podcasts and their sources into Notebook LM and prompting a discussion on the parallels between the growth of the Japanese Hi-Fi Industry of the twentieth century and the emergent Chinese industry of the 2020s for an audience of Hi-Fi Hobbyists.

This week’s episode is accompanied by music created by the Hi-Fi hobbyist with the help of Mureka AI in the style of electro pop designed to create an atmosphere of modernity.

This podcast is the third in a series that seeks to explore the rise of Japanese Hi Fi, understand how this occurred, and to look at the lessons from history about the current rise of the Chinese Hi-Fi industry,

In this episode, we will tell the stories of the businesses that joined them after the Second World War and played a key role as Japanese Hi-Fi brands spread to the West in the 1960s, before considering the parallels between the growth of the Japanese Hi-Fi Industry of the twentieth century and the emergent Chinese industry of the 2020s.

The final episode we will return to this theme by prompting an AI discussion to focus specifically on these parallels

This week’s episode is accompanied by music created by the Hi-Fi hobbyist with the help of Mureka AI designed to reproduce the style of acoustic folk music that was popular in the UK in the 1960s and 1970s when Japanese brands emerged to dominate the mainstream Hi-Fi industry by offering value, reliability and modernity.

This podcast is the second in a series that seeks to explore the rise of Japanese Hi Fi, understand how this occurred, and to look at the lessons from history about the current rise of the Chinese Hi-Fi industry,

In this episode, we will focus on the life stories of the first Japanese Hi-Fi businesses that were created between the World Wars, although they only emerged in the West after the Second World War.

Next week, the third episode will tell the stories of the businesses that joined them after the Second World War and played a key role as Japanese Hi-Fi brands spread to the West in the 1960s, before considering the parallels between the growth of the Japanese Hi-Fi Industry of the twentieth century and the emergent Chinese industry of the 2020s.

In the final episode we will return to this theme by prompting an AI discussion to focus specifically on these parallels

This week’s episode is accompanied by music created by the Hi-Fi hobbyist with the help of Mureka AI, designed to reproduce big band music from the interwar era when the earliest Japanese Hi-Fi brands were established.

In the current era, much has been made of the rise of Chinese manufacturing companies within the Hi-Fi industry. However, they are not the first Asian country to rise from almost nothing to world domination in terms of the audio industry. After defeat in the Second World War, Japan’s industry was almost wiped out and yet by the 1970s it had achieved domination in the mainstream Hi-Fi industry in the UK and beyond.

This podcast is the first in a series that seeks to understand how this occurred, and to look at the lessons from history about the current rise of the Chinese Hi-Fi industry, which is seeing a dramatic rise in market share. Is history repeating itself or is there a different story this time? In the face of Japanese Hi-Fi overtaking the mainstream, British manufacturers moved up market and differentiated themselves by distinctiveness and appealing to the Hi-Fi hobbyists.

Will a similar approach enable them to stand up to new Chinese Hi-Fi brands, or in this age of digital audio, will Chinese R&D win the day?

In this episode, we will introduce the series by looking at the rise of the Japanese Hi-Fi industry and discussing some of the ideas and key products that established their Hi-Fi credentials.

In next week’s episode, we will consider the development of the first Japanese Hi-Fi brands, which emerged between the World Wars, but rose to prominence in the West in the 1970s and 80s,

In the third episode, we will tell the stories of the companies that emerged after the Second World War and ask if we can see parallels with the emergent Chinese Hi-Fi industry of the 2020s.

In the fourth and final episode, we will prompt an AI discussion to focus specifically on the parallels between the growth of the Japanese Hi-Fi Industry of the twentieth century and the emergent Chinese industry of the 2020s.

This week’s episode is accompanied by music created by the Hi-Fi hobbyist with the help of Mureka. AI designed to reproduce popular music from the 1970s, when Japanese brands took over the mainstream Hi-Fi industry by offering value, reliability and modernity.

In the previous two podcasts we have detailed 100 years of the BBCs contribution to audio and Hi-Fi in the UK across, engineering innovations, high quality radio broadcasting, talent nurturing, and loudspeaker designs.

This week we prompted an AI discussion to consider which of these contributions was the most valuable using Google’s Notebook application.

The music to accompany this week’s podcast was generated by the Hi-Fi Hobbyist with the help of Mureka AI software and celebrated piano ragtime which emerged in the 1920s alongside the BBC.

I hope you enjoy the discussion!

And when you have listened to the discussion, ask yourself which do you think are the BBC’s greatest contributions?

Where do you think British Hi-Fi would be without them?

And if you have enjoyed this discussion, why don’t you follow the Hi-Fi Hobbyist podcast wherever you get your podcasts to ensure you don’t miss future episodes?

In this podcast, the second of a miniseries of three, we shall discuss the BBC’s contribution in three specific areas: loudspeaker design, digital audio and nurturing audio engineering talent.  The music that accompanies this podcast once again reflects the BBC's long contribution to classical music.   The BBC retains ownership of most of the Proms concerts, so we feature a public domain recording of selections from Faure’s Requiem, a piece of music that I first heard performed at the Royal Albert Hall in 1982 as part of the BBC Proms season.   This recording is from 1962 and is sourced from Wikimedia Commons, featuring the Orchestre national de l'Opéra de Monte-Carlo with the Louis Frémaux Chorale, Philippe Caillard, and Bernard Kruysen.  This sound recording is out of copyright because it was published in the European Union more than 50 years ago, and the rights of its performers and producers have expired under European Directive 2006/116/EC. 

In the first part of this podcast, we will consider the contribution of the BBC to audio engineering through its groundbreaking loudspeaker designs

The BBC (British Broadcasting Corporation) was founded on October 18, 1922, as the British Broadcasting Company by a group of wireless manufacturers. It was later established as a public corporation under a Royal Charter on January 1, 1927, which is when it officially became the British Broadcasting Corporation, as it is still known today.

Over the years, the BBC has made several significant contributions to the field of hi-fi audio. This podcast is the first of a series of three in which we will explore the contribution and influence of the BBC to British hi-fi and beyond.

The music that accompanies this podcast reflects the BBC's long contribution to classical music, especially through its annual Proms season broadcast from the Royal Albert Hall annually by the BBC since 1927. They had started in 1895 under Robert Newman and conductor Henry Wood.

Following Newman's death and financial struggles for the orchestra, the BBC took over the running and broadcasting of the concerts, initially from the Queens Hall.

In 1941, the Queen's Hall was destroyed by an incendiary bomb during the Blitz, forcing the Proms to move to its iconic current home, the Royal Albert Hall.

The BBC retains ownership of most of the Proms concerts, so we feature public domain versions of pieces of music associated with the Last night of the Proms from the musopen.org site, used under a CC BY-NC-ND 3.0 licence, together with historical performances from the Internet Archive in the Public domain.

This podcast provides an overview of some of the BBC historical contributions. The next episode will focus specifically on BBC innovations in loudspeakers and digital audio, and the third will be a generated discussion of both podcasts

In the first part of this podcast, we will consider the contribution of the BBC to audio engineering through its library of peer-reviewed engineering papers, which made a very significant contribution to transforming hi-fi from an art form guided by guesswork into a precise, repeatable science.

Welcome to the second of our anniversary special podcasts in the hi-fi hobbyist series.  Throughout the first year of the hi-fi hobbyist podcasts, we have explored the use of AI technology in a number of different ways. In most cases, the podcasts have alternated in style on a fortnightly cycle.  The first podcast in the cycle is based on human-authored content. AI is used to turn the words into audio content using a synthesised version of the Hi-Fi hobbyist's voice, as is the case here.   The accompanying music is either from public-domain historical sources, often the case when classical music is used, or from AI-generated music in other genres.  The second podcast in each pair has often taken the form of an AI-generated debate about the content of the previous week's podcast. This debate is carefully steered by the hifi hobbyist, but where there are flaws occasionally, these are left in, in the interests of transparency.  This anniversary special represents a partnership between the human hi-fi hobbyist and the technology. In the first part of this podcast, the hi-fi hobbyist lays out how AI has been used over the year. This is followed by an exposition of the ethics of using AI in the ways described. After this, the podcast concludes with an AI-generated debate about these same ethical issues.  The music to accompany this podcast is generated using Mureka AI software and is in the style of piano ragtime from the 1920s

Welcome to the first of two special Hi-Fi hobbyist podcasts that celebrate our first anniversary.   The first sets out to reflect how the global trends and issues discussed in the podcast have impacted my own experiences with Hi-Fi at home, and influenced my buying choices.   Discussions of my own personal experience with Hi-Fi are generally dealt with in the shorter opinion pieces that you will find on the Hi-Fi hobbyist.net website.  However, for this anniversary special podcast, we will consider the elements within my main Hi-Fi system, which I refer to as my indulgent system, and reflect on how my buying choices are linked to the themes that I have explored over the last year of this podcast.   Only one of those components was produced by a manufacturer owned by one of my Hi-Fi heroes, and therefore, it seems appropriate to start with a discussion of my turntable, the Linn LP12, the product that launched the career of Ivor Tiefenbrun of Linn products.  With his well-known philosophy of source first, I hope he would agree!  The music accompanying this podcast was developed especially for it using Mureka AI software. It represents what AI thinks a baroque string quartet should sound like.  

I'll let you decide if you agree!

This week's podcast concludes our current series of podcasts about my Hi-Fi Heroes. We have prompted our AI protagonists to debate the relative contributions of our two most recent Hi-Fi Heroes,Roy Gandy of Rega and Ivor Tiefenbrun of Linn.  These two highly influential figures have both led their respective businesses for over fifty years since the early 1970s, and although they have both stepped back from day-to-day management, they are both still heavily involved in their businesses.  Both made their names with iconic turntables, but have diversified in different ways.  The music this week has been created by the Hi-Fi Hobbyist, using Mureka AI software in a jazz and swing style.  I hope that you enjoy the debate!  

This week's podcast is devoted to out final Hi-Fi hero for now, Roy Gandy.   Roy Gandy founded Rega Research in 1973. It is a prominent British audio manufacturer celebrated for its minimalist engineering philosophy and high-fidelity equipment, which has always combined excellence with good value.  The company has evolved from building the original Planet turntable in 1973 to developing its modern flagship, the Naia, which uses advanced materials like graphene and titanium to achieve extreme rigidity and low mass.  Beyond record players, the company is recognized for influential electronics like the Brio integrated amplifier, a compact unit praised for its authentic analogue performance.  Gandy’s design approach views the turntable as a vibration measuring machine, prioritising mechanical integrity and musicality over superfluous digital features. He has always claimed not to be very interested in the concept of high fidelity that “seems a bit strange” to him, but acknowledges that he is passionate about music, and fixing things that seem wrong to him.  To preserve Rega’s corporate culture and ensure long-term stability, Gandy recently transitioned the business into an Employee Ownership Trust. He has provided a legacy of technical innovation rooted in a lifelong passion for accuracy in music reproduction, and created a remarkable British company with a loyal and caring workforce.  This podcast starts by considering his early years.  In recognition of his mother’s talent as a concert pianist, the music accompanying the podcast is Beethoven’s Piano Sonata No. 14, the Moonlight, played by Arthur Rubinstein, and provided in the public domain by the Internet Archive.

This is the third of our series of podcasts about my HiFi Heroes. If Peter Walker and Gilbert Briggs were the founding fathers of the British Hi-Fi Industry, Ivor Tiefenbrun is regarded by some as their heir apparent and by others as their problem child. He has always been a controversial figure inspiring both loyalty and anger through his public pronouncements.  He built his reputation on the Linn Sondek LP12 turntable, which has been in continuous production for over 50 years, through a process of continuous evolution and improvement, but his commitment to engineering excellence has influenced speaker design and digital electronics as well.  The music accompanying this week’s podcast recognises his role as a champion of Scottish culture and music. It was generated by the Hi-Fi Hobbyist with the help of Mureka AI software, and concludes with a tribute to Mr Tiefenbrun in the style of Robert Burns.

Come back next week for the last in our current series of podcasts about my HiFi Heroes, Roy Gandy.

This week’s podcast features a discussion about the impact of Gilbert Briggs on the development of the British Hi-Fi scene between two AI protagonists. They have been prompted to  compare Briggs’s contribution with another of my Hi-Fi heroes, Peter Walker, founder of QUAD, and to consider Briggs's legacy for modern-day Hi-Fi loudspeakers in general and Wharfedale in particular. As Gilbert Briggs was a keen musician who loved his pianos, as well as an engineer, we have chosen a piano accompaniment for this week's discussion. We feature extracts from Mussorgsky’s original version of Pictures at an Exhibition for solo piano recorded by Sviatoslav Richter somewhere in the U.S.S.R. sometime in the 1950s, during Gilbert Briggs's heyday, and downloaded from the Internet Archive, and used under a Attribution-Noncommercial-Share Alike 3.0 licence.  We hope you enjoy the discussion!

This is the second in an occasional series of podcasts devoted to some of my Hi-Fi heroes. This podcast is dedicated to Gilbert Briggs, founder of Wharfedale. These days, Wharfedale is owned by the International Audio Group and like QUAD, many of its products form part of the current fashion for retro products.

Gilbert Briggs as well as being a great audio engineer was a big influence in popularising Hi-Fi as a hobby in the early days of the industry

Gilbert Briggs was a proud Yorkshireman, so we have created a range of brass band music to accompany this podcast, using the Mureka AI software to create music in the style of the many colliery bands that were created in the county. Unfortunately, once I had done my research, it turns out that he was a huge fan of the piano, so perhaps that would have been more appropriate.

Welcome to this week's podcast. The Hi-Fi Hobbyist is on holiday this week, but he will be back next week with another Hi-Fi hero. In the meantime, we have prompted two AI protagonists to revisit the podcast from a few weeks ago where we looked at how far the Chinese hi-fi industry has progressed and asked if it is now innovating and outpacing its Western competition. That podcast has generated significant interest, so it seemed like a good idea to revisit the topic and see what other perspectives an AI-generated discussion could produce. The previous podcast has identified areas where Chinese technological innovation has led to products which offer superior performance at lower price points, when compared to their Western competition. The AI protagonists debate whether these trends are reaching a tipping point where  Chinese producers will be seen as offering superior products to Western competitors, not just in the budget sector, but across all price points.  The music accompanying the discussion is from Playsound hosted at pixabay.com. It's entitled 80s retro Synthwave and it's provided free for use in the public domain.  We hope that you enjoy the debate.

This week’s podcast features a debate between AI protagonists about one of my Hi-Fi heroes, Peter Walker, founder of QUAD.

Peter Walker is responsible for a range of major innovations in audio equipment design. In this week’s debate, the protagonists consider the relative merits of Walker’s contributions, specifically whether his contributions to electrostatic loudspeakers outweigh the contribution of his various radical amplifier circuit designs.

As Peter Walker was a keen musician as well as engineer, who favoured classical music, we have chosen more from Handel’s Water Music to accompany this podcast, performed by  The Jean-Francois Paillard Chamber Orchestra, in a recording from 1961, available from the Internet Archive under a Usage Attribution-NonCommercial-No Derivative Works 3.0 Creative Commons Licence.

This is the first in an occasional series of podcasts devoted to some of my Hi-Fi heroes. This podcast is dedicated to Peter Walker, founder of QUAD. These days, QUAD is owned by the International Audio Group and many of its products form part of the current fashion for retro products.

However, during the first fifty years of its life, under the ownership of Peter Walker it was arguably the most innovative of British HiFi companies.

Peter Walker was a keen musician as well as engineer, and he favoured classical music, so we have chosen Handel’s Water Music to accompany this podcast, performed by  The Jean-Francois Paillard Chamber Orchestra, in a recording from 1961, available from the Internet Archive under a Usage Attribution-NonCommercial-No Derivative Works 3.0 Creative Commons Licence.

This is the second part of the Hi-Fi Hobbyist Podcast on AI and Music. In this part we present the second side of the virtual album “Journeys”. Side 2 is made up of songs based upon real-life journeys undertaken by ancestors of the HiFi Hobbyist, or other people known to him. These journeys were often undertaken willingly in search of new opportunities and generally have positive outcomes. The music reflects the more positive stories on side 2 of the virtual vinyl album.

Following the music, there is a discussion of the issues around AI and music to conclude the podcast.

If you enjoy the music, please access the full release with lyrics and images at the main Hi-Fi hobbyist website

This week’s podcast is in two parts. It is a departure from the usual pattern, looking at the use of AI in the generation of music. There are legal and ethical issues, especially in the area of creativity and intellectual property, and we shall return to these at the end of Part 2 of the Podcast.  This podcast is built around Journeys, a music and AI project developed by the Hi-Fi Hobbyist., featured in full on the  main website at Hi-Fi Hobbyist dot net, as a virtual vinyl album with two sides, a cover and an album booklet with lyrics and further images.  Within the “Journeys” project, the Hi-Fi Hobbyist acts as human creator, sets creative direction and has overall control, and views the use of AI as an instrument to achieve the desired outcomes in words, music, and images.  The song lyrics are based upon ideas researched from historical and personal sources by the human creator.  He maps out the narratives, then turns them into lyrics that fit the structure and meter, with the help of AI. The music is generated by the Mureka AI tool in response to detailed instructions provided by the human creator. Typically, Mureka generates four options, and then human creator then selects the most suitable version.    Part 1 of the podcast presents Side 1 of the virtual vinyl album. Side 1 is made up of a series of songs about journeys based upon the historical events of the Highland clearances. It contrasts the journeys through life of those clearing and those being cleared.  The music is in a Celtic style and draws upon the message and musical style of 7:84 Theatre Company's iconic The Cheviot, The Stag and the Black, Black Oil.  Each song is linked to a historical event from the Scottish Highlands in the 19th century, although some artistic licence is employed. 

In a previous podcast, we looked at Chi-Fi, Chinese-manufactured Hi-Fi, which is gaining increasing recognition in the international Hi-Fi market. In this podcast, we will look in more detail at how this industry has developed from a low-cost manufacturing centre to an innovation and R&D hub, and how Chinese brands are now building products based on their own innovations that can match or outperform traditional rivals from the West.  In the first part, we look at the historical development of the industry before moving on to policy and economic drivers. After that, we will consider examples of technological innovations originating in China and the Hi-Fi products developed from them. The podcast concludes by considering potential future directions and trends.  The accompanying music is by Frédéric Sylvestre and hosted at pixabay.com, and is used under a Pixabay content licence.

Last week's podcast looked at the issue of room acoustics and room treatment. This week, we hand over the topic to AI protagonists for a debate about whether specialist room treatments are required in a domestic setting, or whether simpler pragmatic adjustments to room decor with the potential addition of digital signal processing can suffice. As always, the purpose of deploying AI is to provide an alternative view of the issue. 

The accompanying music this week is from the Planet Suite by Gustav Holst, played by the USAF Heritage of America Band and supplied by musopen.org, and available in the public domain. 

I hope you enjoy the debate!

 Recent opinion pieces on the HiFi Hobbyist website have reported on differing views from online commentators on the importance of room acoustics and room treatments.

In this podcast, we will look in more detail at the underlying scientific theory and seek our own conclusions on the topic. 

Part 1 of the podcast outlines the basic acoustics theory, Part 2 looks at the implications of the Schroder frequency and the need to handle upper and lower frequencies differently and then Part 3 looks at treatments designed to alleviate problems caused by reflections and reverberations, before a final conclusion.  The accompanying music consists of two concertos in the Baroque style, created by the HiFi Hobbyist with the help of Mureka software.

This week's podcast is a generated discusison take a deeper look into how the recording quality of live albums improved over the 1970s. The discussion is not limited to the five albums I discussed last week, and the discussion has a more U.S-centric feel which may balance things for those who think my choices last week were too UK-biased. Once again, I have generated accompanying music to show how AI thinks live rock music from this period sounds .

For me, the 1970s were a golden age of the double live album. Of course, these were the days of vinyl, so we’re talking about four sides, giving a total playing time of up to about 90 minutes.

Speaking personally, this was how I got to know some of my favourite bands of this era. In this podcast, I will seek to identify my five favourite live albums from the period and discover how they were recorded.

What are your favourite live albums from the era? What memories do they evoke?

I hope you enjoy the podcast

This week’s podcast is the last in a cycle of four. Using the same sources as the Hi-Fi Hobbyist did last week, our AI protagonists discuss the significance of the key recordings of Beethoven’s 9 Symphonies. 

This week’s music accompanying the podcast are selections from an early recording of Arturo Toscanini conducting the BBC Symphony Orchestra in a performance of Beethoven’s Symphony No. 6 in F major, Opus 68, the ‘Pastorale' at the Queen's Hall, London in 1937, first released in 1943 and now in the public domain and available at Wikimedia Commons. Listen for the genuine surface noise of a 78 rpm shellac record faithfully reproduced on the digital transcription!  I hope you enjoy the discussion and want to listen to more podcasts from the HiFi Hobbyist, including the last three about the Beethoven Symphonies, if you have arrived at this one first! 

This week’s podcast is the third of a four-week cycle. This week will review recordings of Beethoven’s nine symphonies from the last one hundred years. This will be followed next week by letting our AI protagonists discuss the most significant recordings of Beethoven’s symphonies.  The podcasts are all accompanied by extracts from the Symphonies. This week’s recordings of the Eroica Symphony are performed by The Czech National Symphony Orchestra and published by the Musopen Kickstarter Project under a Creative Commons PDM 1.0 Licence and hosted at classicals.de I hope you enjoy this week’s podcast, and if you do, please come back next week for the last podcast in the cycle, or if you have not done so, catch up with the previous podcasts.

This week's podcast is the second in a cycle of four in which our AI protagonists discuss Beethoven’s 9 Symphonies. Using the same sources as the Hi-Fi Hobbyist did last week, our AI protagonists select and rank their favourite three symphonies, and then go on to justify and debate their choices.

Whose choice will resonate with you? The Hi-Fi Hobbyist, or one of our AI protagonists?

It is perhaps appropriate, given the subject matter, that this cycle of podcasts about Beethoven’s symphonies is the most ambitious the HiFi Hobbyist has yet produced.

This week's music accompanying the podcast is the final movement from Beethoven’s 9th Symphony. The first part covers the section where Beethoven revisits the themes from the preceding movements and effectively rejects them. The second part introduces the Ode to Joy theme, and the podcast concludes with the glorious conclusion to the movement, the Symphony, and Beethoven’s Symphonic output.

The recording is provided by the European Archive of Music, hosted at musopen.org and made available in the public domain.

Enjoy the debate and stick around to listen to the conclusion to Beethoven’s 9th Symphony at the end of the podcast.

This week’s podcast is the first of a four-week cycle. This week we will review Beethoven’s nine symphonies and choose a top five. This will be followed next week by letting our AI protagonists discuss the symphonies and the Hi-Fi Hobbyists ranking.

After that, the following week’s podcast will consider some of the greatest recordings of Beethoven’s 9 Symphonies cycles, both from a musical and audio perspective, as befits a Hi-fi hobbyist podcast. The four-week cycle will conclude with an AI discussion of the different recordings.

The podcasts are all accompanied by extracts from the Symphonies. This week’s recordings are performed by performed by The Fulda Symphonic Orchestra, who were recorded live on March 10, 2002 at the Grosser Saal der Orangerie. The recordings are provided by classicals.de and used under Creative Commons - Attribution-ShareAlike 4.0 International Licence.

I hope you enjoy this week’s podcast and if you do, please come back in future weeks for the later podcasts.

This week’s podcast is a generated debate to decide whether Chi-Fi represents a dream or a nightmare for the Hi-Fi Hobbyist. The AI protagonists use the sources from last week's podcast to create their arguments. 

Once again, the music accompanying this podcast consists of tracks of Chinese music by Kazoom, played on traditional Chinese instruments, hosted by Pixabay.com, and used under a Pixabay licence.

A few weeks ago, the main Hi-Fi Hobbyist looked at the emergence of Chi-Fi. Chi-Fi describes an industry phenomenon where independent Chinese brands deliver high-performance audio equipment at disruptive prices. It marks a shift from OEM manufacturing of Western designs to the emergence of Chinese designed kit offered by Chinese brands and sold on global platforms such as Amazon.

This podcast looks in more detail at how it has developed, and the implications for Hi-Fi Hobbyists and Hi-Fi manufacturers in the West.

In last week's podcast we looked at the different amplifier classes and how they linked to the sound quality of key exemplar amplifiers of each type. One of the conclusions was that the vast majority of modern amplifiers are either Class AB or Class D.

For this week's podcast, we have generated a debate between two AI protagonists, one championing the virtues of Class AB, the other, the benefits of Class D amplifiers.  For accompaniment, we have stuck with electronic techno by Nick Panek, this time a track entitled "Ridiculous". It is hosted by Pixabay and used under a Pixabay licence.

I hope that you enjoy the debate. Happy listening!

A few weeks ago, we looked at the the difference between valves and solid-state components such as transistors or integrated circuits in hi-fi amplifiers. One of the issues that emerged from that podcast was the question of amplifier topology or class. It appeared from the research undertaken that the amplifier topology could have as much impact on the ultimate sound as the nature of the devices doing the amplification. In this podcast, we will consider the most common amplifier classes, the characteristics of the sound with which they are associated and some examples of highly regarded amplifiers within each class. The very fact that there are highly regarded amplifiers in each class suggests that no one class is best, but rather each has its own characteristics, and in conjunction with the loudspeakers used will generate its own particular sound quality.

In last week's podcast, I selected my favourite five Jethro Tull albums.

The selection was based on musical and lyrical quality, rather than the sound quality of the original releases, but as this was a Hi-Fi Hobbyist podcast, sound quality was raised, especially in relation to the Steve Wilson remixes where available. 

For this week's podcast, we have generated a debate between two AI protagonists, one set the task of defending my ranking, the other required to oppose it in classic debating fashion. 

We have reused the version of Bourrée from J.S. Bach's Lute Suite in E minor, BWV 996, that inspired Jethro Tull’s famous Bourrée track when Ian Anderson heard Martin Barre play it on his guitar. This version is by Jakob Lindberg, and the recording is in the public domain.

Jethro Tull have been producing music since 1968, and therefore selecting 5 favourite Jethro Tull albums for this podcast is a difficult task.

This week's podcast is the Hifi Hobbyist's attempt to select a Top Five Jethro Tull albums. Only five in the list in order to try to explore the merits of each title in some detai,l particularly with reference to the sound quality of each album. The Jethro Tull catalogue has been well served by a series of remixes by Steve Wilson, often on the 40th anniversary of the original release. Many of Jethro Tull’s early albums, in particula,r push the boundaries of what was then technically possible, and this perhaps explains why the quality of some of the original releases was less than ideal.

In selecting my favourite 5 albums, I have taken into account that some of the Jethro Tull albums can be seen as companion pieces. Thus, a Passion Play and a Thick as a Brick both represent concept albums and share a common tongue-in-cheek approach. Heavy Horses and Songs from the Wood represent a more rural and folksy approach to music. Stormwatch whilst musically similar to Heavy Horses and Songs from the Wood looks forward lyrically to the more apocalyptic themes of A.

Crest of a Knave and Rock Island represent a harder rock sound, whilst Minstrel in the Gallery and Too old to Rock'n'Roll, Too Young to Die can be seen as concept albums based around relatively short individual tracks.

In order to reduce my options, I elected to set the criteria that no two albums that represent companion pieces could appear in my top five. The selection is based on musical and lyrical quality, rather than the sound quality of the original releases, but as this is a hifi hobbyist podcast, we will certainly discuss sound quality, especially in relation to the Steve Wilson remixes where available.

As usual, we cannot use Tull’s music for copyright reasons, so the music featured is a version of Bourrée in E minor from J.S. Bach's Lute Suite in E minor, BWV 996. This is the piece that inspired Jethro Tull’s famous Bourrée track when Ian Anderson heard Martin Barre play it on his guitar. Our version is by Jakob Lindberg, and the recording is in the public domain.

Welcome to this week’s podcast, which is a generated debate about the different approaches to performing and recording Handel’s Messiah, as discussed in last week's Christmas podcast. 

The AI protagonists debate the merits of the newer authentic or "historically informed" performances compared to the more traditional larger scale performances popular in the early years of vinyl LP records. 

The selections of Messiah that accompany the podcast are again supplied from Wikimedia Commons. They are used under a Creative Commons 2.0 licence. Given the topic and the availability of the recordings, some of the musical clips are longer than usual.

I do hope that you enjoy the podcast! 

Happy Christmas from the HiFi Hobbyist!

This week’s podcast considers Handel's Messiah, which has become a staple at Christmas.

We shall consider its origins, its impact, and the HiFi Hobbyists favourite recordings

The selections of Messiah that accompany the podcast are supplied from Wikimedia Commons. They are used under a Creative Commons 2.0 licence

I hope that you enjoy the podcast!

This week’s generated discussion iis about last week’s podcast about the relative merits of valve and solid-state (transistor) circuitry in high-fidelity audio amplification.

It takes the form of a debate about the merits of each technology with each participant championing one of the technologies

This week’s music is entitled Digital Sunset by Nver Avetyan and used under a Pixabay licence.

 I hope that you enjoy the discussion.

This week’s podcast which considers the relative merits of valve and solid-state circuitry in high-fidelity audio amplification. We use the term “solid state’ because the discrete transistors of early designs have now largely been superseded by integrated circuits incorporating many transistors

Transistors largely replaced valves in the 1960s, but have retained a niche market in high-end, and also some budget enthusiast products, and we will try to understand why.

As valve amplification is often associated with fans of acoustic music, this week’s music is a piece of acoustic jazz entitled Fast Jazz by WaveMaster and used under a Pixabay licence.

 I hope that you enjoy the podcast!

This week’s generated discussion uses the evidence gathered for last week’s podcast about Dark Side of the Moon and Wish You Were Here by Pink Floyd to debate the merits of each album with each AI participant championing one of the titles. Will they agree with the (human) HiFi Hobbyist?