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While Olive is new, it is actually a US subsidiary of a long-established German company that provides products and software for Mac computers. I fed its digital output via a 20' TosLink cable to my D/A processor. (It turned out that the tender mercies of UPS had caused an internal cable to become detached.) The second sample (serial number 23973, running v2.1 of the software) booted up with no problem. The first sample of the Symphony arrived dead in the box. Would I be interested in trying out the Symphony? Yah, you betcha (as we are yet to say in Brooklyn). All this functionality comes in a discrete box the size of a conventional CD player and costing just $899. It even has analog inputs for digitizing LPs. I was just settling into using this system when I got an e-mail from a representative of San Francisco-based Olive Media Products, announcing the introduction of the Symphony, a standalone, remote-controlled, fanless music server optimized for classical recordings, with a 32-bit IBM PowerPC processor, an LCD screen, an 80GB internal drive, a CD-R drive for ripping CDs and burning playlists, analog and digital outputs, a headphone jack, a Night Mode that reduces dynamic range, and, most usefully, a four-port Ethernet switch and a Wi-Fi access point for networking to other devices. I moved the Mini into the listening room and used an M-Audio Transit USB external soundcard ($79) to provide an S/PDIF optical datalink to the Levinson DAC. With iTunes in Shuffle mode, this setup was fine for CD-quality background music but clunky for choosing specific tracks to play. (The monitor was free, as I used an old LCD panel retrieved from the closet.) With the Mini sitting in my test lab running iTunes 5.0, it could drive my listening-room system via the Airport Express.
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This cost $550 with an 80GB drive and a Wi-Fi card, plus another $100 for a Bluetooth remote keyboard and mouse. I chose a Mac Mini as the base unit because of its tiny size and its silent running. But as the size of my iTunes library now exceeds what is practical for my laptop's hard drive, even with lossless compression, and the laptop's fan is noisy enough to be heard from my listening seat, I decided to set up a dedicated music server. But when Apple introduced Apple Lossless Compression, which shrinks the file to 45≥5% of its original size with no loss in sound quality, I got into the idea big-time. Even at 320kbps, Apple's AAC codec does not sound as clean or as transparent as the original uncompressed 16-bit/44.1kHz AIF or WAV files, and as for MP3s at 128kbps, fuggetabowdit (as we say in Brooklyn).
I had been sniffy about iTunes until late 2003, because until then the only compression algorithms it had offered were lossy.
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In the last year or so, therefore, I've been using Apple's iTunes software running on my Apple PowerBook to feed the Mark Levinson or Benchmark DACs in my he-man rig using either a professional FireWire interface (a $1500 Metric Halo MIO2882 DSP) or a $129 Apple Airport Express Wi-Fi hub. I now smile when I see 160GB hard drives selling for less than $100 the 2GB drive that seemed so enormous 12 years ago cost $2000! That Sonic system was and is optimized for music production, however, and is not suitable for general use. I'm getting more and more e-mails from readers asking for advice, Wes Phillips wrote about transferring his LPs to audio files in his October and November newsletters, and a lively thread on this topic is currently running on the forum at With my production work for the Stereophile recordings, I early got into playing back music files on a computer, when the magazine purchased a Sonic Solutions Digital Audio Workstation at the end of 1993.
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How to integrate a computer into a high-end audio system is a hot topic these days. Music Servers & the Olive Symphony, by John Atkinson That Difficult Second Album., by Ken Kessler Music Servers & the Olive Symphony, by John Atkinson
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