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J. Gordon Holt Posted: May 11, 2009 Published: Oct 11, 1985 0 comments
Is it possible to make a $700 "mainstream-audio" power amplifier sound exactly like a high-priced perfectionist amplifier? Bob Carver, of Carver Corporation, seemed to think he could, so we challenged him to prove it.
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John Atkinson Posted: Apr 12, 2009 Published: Jul 12, 1988 0 comments
A couple months back, a question from a dealer set me back in my chair: "Are you guys really going to put out Stereophile on a monthly basis?" I was surprised—when he put the question, we were just starting production work on the issue you hold in your hands, the twelfth to hit the stands since we started publishing monthly. Beginning with Vol.10 No.5 in August 1987, a Stereophile has gone in the mail every month, pretty much on time despite having gone through the trauma of changing printers last December on one issue's notice.
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Robert Harley Posted: Mar 25, 2009 Published: Sep 25, 1989 0 comments
Beginning with this issue, Stereophile readers will notice that more of the subjective equipment reviews are augmented with technical reports describing certain aspects of the component's measured performance. Although test data have lately been increasingly included in reviews, Stereophile has recently made a major commitment to providing readers with relevant measurements of products under review. We have just finished building an audio test laboratory featuring the Audio Precision System One, a sophisticated, computer-based audio test measurement system.
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John Atkinson Posted: Mar 03, 2009 Published: Jun 03, 1990 0 comments
1950: "The ultimate in disc recording is to make the reproduced sound as near as possible to the original..." (The founder of Audio magazine, C.G. McProud, in "Recording Characteristics," Audio Engineering, January 1950, reprinted in The 2nd Audio Anthology, p.67, Radio Magazines, 1954.)
Anthony H. Cordesman J. Gordon Holt Posted: Dec 05, 2008 Published: Apr 05, 1986 0 comments
One of the nicest features of the High End is its diversity. Regardless of whatever trend is fashionable, there will always be manufacturers to buck it, and sell alternative concepts and sounds. VMPS is just such a case. With few exceptions, the recent trend in speaker systems has been toward small-to-medium-sized "monitors" with good imaging and high resolution, but limited bass and dynamics (footnote 1). The VMPS SuperTowers provide the former, but buck the trend by adding reproduction of the deepest bass and outstanding full-range dynamics.
John Atkinson Posted: Dec 05, 2008 Published: Oct 05, 1988 0 comments
If I had to pick one amplifier designer as having had the greatest continuing influence on the high-end market, as much as I admire John Curl, Audio Research's Bill Johnson, and Krell's Dan D'Agostino, the name of David Hafler inexorably springs to mind. Not because he challenged the very frontiers of hi-fi sound, but because he combined a fertile, creative mind (footnote 1) with a need to bring good sound to as wide an audience as possible, both by making his products relatively inexpensive and by making them available as kits. (The Major Armstrong Foundation apparently agrees with me—they presented David with their "Man of High Fidelity" award at the summer 1988 CES.) It remains to be seen if the Hafler company will continue in this tradition, now that David has sold it to Rockford-Fosgate. But there is no doubt that many audiophiles were first made aware of the possibilities of high-end sound by Hafler products in the late '70s, and by Dynaco in the '60s.
J. Gordon Holt Posted: Dec 01, 2008 Published: Apr 01, 1987 0 comments
As the person who "invented" subjective testing, I have followed with great interest the many articles in the mainstream audio press which purport to prove that none of us can really hear all the differences we claim to hear, particularly those between amplifiers. My reaction has usually been: "Why didn't they invite me to participate? I would have heard the differences under their double-blind listening conditions." I could make that assertion with supreme confidence because I had never been involved in any such test.
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Peter W. Mitchell Posted: Oct 03, 2008 Published: Oct 03, 1992 0 comments
Dateline—Chicago, May 30, 9:00pm. Exploding fireworks lit up the sky above the Chicago river as 200 leading high-end designers gathered in the Hotel Intercontinental for Stereophile's 30th Anniversary banquet. After a repast of four gourmet courses and five wines, the time came for after-dinner speeches to celebrate Stereophile's past and high-end audio's future. Publisher Larry Archibald described his adventurous transition from the high-end car business to risky publishing. Introducing J. Gordon Holt, he praised JGH's uniquely lucid writing and his unflinching insistence that equipment designed to reproduce music should be judged on its ability to do just that—the unconventional view that launched high-end audio.
J. Gordon Holt Posted: Aug 07, 2008 Published: Aug 01, 1964 0 comments
Editor's Note from 1992: This seminal J. Gordon Holt essay on how the art of recording natural sound became compromised in favor of unmusical artificiality for good commercial reasons was originally published in August 1964, in Vol.1 No.8. Though most people these days listen to classical music from CDs, not LPs, in the intervening decades, recording technology has not changed for the better as much as one might have hoped. Nevertheless, the days of wretched multimiking excess described by Gordon are past, and it's rare to find the music treated with the lack of respect typical of a mid-'60s Columbia session. Although some of the smaller companies—Reference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UK—consistently use honest, minimal miking, it is not unknown for the majors in the '90s to do likewise. And the use of time delay for spot microphones, pioneered by Denon in the mid-'80s, means that instruments that might tend to become obscured at orchestral climaxes can now be brought up in level without unnaturally time-smearing the sound. I still find it sad, however, that it is rare to hear the sheer dynamic range of a live ensemble successfully captured on a commercial recording.John Atkinson
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Larry Archibald Posted: Apr 20, 2008 Published: Nov 20, 1991 0 comments
Ralph died last week (September 11, 1991), his great and faithful heart stopped in the aftermath of an affliction not too uncommon for older, larger dogs—a gastric torsion. He was approximately 12 years old.
J. Gordon Holt Posted: Mar 03, 2008 Published: Jan 03, 1977 0 comments
The Dalhquist DQ-10 loudspeaker has not as yet been formally submitted for review. (The designer tells us he is still working on the low end.) We auditioned a pair at the one local dealer we could find who had the DQ-10s on demo, and were immensely impressed. Obviously, Jon Dahlquist is on to something that other speaker designers have been overlooking, for, despite the multiplicity of driver speakers in the system, the DQ-10 sounds like one big speaker. There is no awareness of crossovers or separate drivers (except at the low end, about which more subsequently), and the overall sound has a degree of focus and coherence that is surpassed only by the Quad full-range electrostatic, which don't go as low at the bottom or as far out at the top.
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John Atkinson Posted: Jul 17, 2007 Published: Oct 01, 1997 0 comments
Thirty-five years ago this month, the first issue of a new audio magazine—cover price 50 cents—cautiously made its way out of a Philadelphia suburb. Its black'n'white cover featured a chessboard adorned with tubes and XLR plugs. Its 20 advertising-free pages included a feature on how to write an ad for an audio product, which had been penned by one Lucius Wordburger, a footnote helpfully pointing out that this was the nom de plume for one J. Gordon Holt, "who wishes to remain anonymous."
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Wes Phillips Posted: Jul 03, 2007 Published: Mar 03, 1999 0 comments
The March 1999 issue of Stereophile is my last as the magazine's Equipment Reports Editor. I have accepted a job elsewhere in the industry, and, as a public relations consultant, will be actively promoting this wonderful hobby of ours in a different capacity.
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Larry Archibald Posted: Jun 03, 2007 Published: Dec 03, 1983 0 comments
It's not often that you get a chance to have extensive discussions with the horse's mouth, but we recently had that opportunity. Since July of this year there has been extensive discussion in the audio community, particularly the high-end segment, of Larry Greenhill's article on speaker cable listening tests in the August, 1983 issue of Stereo Review (footnote 1). From recent talks with author Greenhill we've learned that the most interesting story was not in Stereo Review; instead it can be found in the varying reactions from different quarters, and what they say about the high-end industry in general.
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Larry Archibald J. Gordon Holt Posted: Jun 01, 2007 Published: Apr 01, 1986 0 comments
The rumors have been flying, and his arrival is imminent—a couple weeks after you read this—so it's time our readers know: John Atkinson, for the last four years Editor of Britain's prestigious Hi-Fi News & Record Review (left), is joining the staff of Stereophile as Managing Editor and International Editor.