Editor's Note: John Crabbe was Editor of Hi-Fi News & Record Review when I joined that magazine as a lowly editorial assistant in September 1976. At the end of 2007, I had asked Steve Harris to interview John for Stereophile, as part of an ongoing project to create an oral history of high-end audio (footnote 1). Sadly, John passed away in December 2008see "As We See It" and "Industry Update," in our March issue. We are publishing Steve's interview as a tribute to a man from whom I learned my craft as an audio magazine editor.John Atkinson
As founder of California-based Vacuum Tube Logic of America, David Manley is at the forefront of the current renaissance in vacuum-tube audio equipment. In addition to manufacturing some highly regarded audiophile components, VTL has introduced a line of tubed professional equipment that is finding its way into recording studios. David has a lifetime of experience in tube electronics, recording studio design, disc cutting, music recording, and most recently, analog/digital and digital/analog converter design.
If high-end audio were to carve its own Mt. Rushmore, whose faces would appear therebesides that of Stereophile founder J. Gordon Holt, of course? It's likely that no two audiophiles would ever come up with identical lists of subjects, but I wouldn't be surprised if they could agree on at least one name: Nelson Pass.
Richard Sequerra was born in 1929 and raised in various parts of the US by his mother, who worked for the Department of State. By the time he was 20, he had launched a freelance career that has since spanned a wide range of technologies. During a stint at Marantz in the 1960s, he worked with Sidney Smith on that firm's famed Marantz 10B tuner, which was sold from 1964 through 1970. Subsequent products have included the Sequerra 1 tuner and the Metronome 7 loudspeaker, originally produced by Sequerra's firm Pyramid and now hand-assembled by its creator, who offers the most recent version via his website, for less than half what it cost through retail channels when Sam Tellig praised it in the July 2007 Stereophile. Sequerra's newest transducersa self-amplified nearfield speaker and matching subwoofer designed for Internet music listeningremain in prototype form; he hopes to sell or license the designs rather than manufacture and market them himself.
Determined to find out more about Revel's Ultima Salon2, I tracked down designer Kevin Voecks late on the second day of the 2008 Consumer Electronic Show. I persuaded him to step outside the demonstration suite of Harman International Industries, Revel's owner, high atop the Las Vegas Hilton. We spent an hour chatting about Voecks's design goals for Revel's new flagship. I asked Kevin what had led his team at Revel to develop a new Ultima Salon loudspeaker after 10 years?
Alon Wolf can be mesmerizing. When the founder of Magico gets going on one of his favorite subjects, loudspeaker design, the strength of his convictions, depth of technical knowledge, and sureness of response are enough to hush many a skeptic into silence.
As one of the founders of Threshold Corporation, its present chairman, and its longtime technical head, Nelson Pass has had a hand in the design and implementation of the products to come out of that company since its inception. His SA-1 power amplifier and FET 10 preamplifier have been long-term favorites of Stereophile founder J. Gordon Holt and I reviewed the Threshold SA-12/e power amplifier a year ago (Vol.13 No.12). I cornered him on a visit to Santa Fe...
I don't remember the year, but I remember the moment when I first became intensely curious about Roy DuNann. It must have been about 1975, right after I moved to Seattle. I bought a Sonny Rollins LP called Way Out West, took it home, cued it up on my Thorens turntable, dropped the tonearm, and suddenly I was in a room with Rollins and Shelly Manne and Ray Brown. It was a shipping room with records stacked on shelves all around the musicians, but I wouldn't know that until many years later.
When Hong Kong–based music lover and electronics-equipment distributor Klaus Heymann (footnote 1), now 70, first began organizing classical-music concerts as a way to boost sales, he had no idea he would end up founding the world's leading classical-music label. But after starting a record-label import business and meeting his future wife, leading violinist Takako Nishizaki, the German-born entrepreneur sought a way to promote her artistry. First he founded the HK label, which specialized in Chinese symphonic music (including Nishizaki's recording of Butterfly Lovers, the famous violin concerto by Chen Gang). Next he established Marco Polo, a label devoted to symphonic rarities.
How many hi-fi professionals can say that they've designed at least one of every part of a complete recording system, from microphones to tape recorders to vinyl-disc-cutting electronics? Probably only Tim de Paravicini (footnote 1). Best known to audiophiles for his extraordinarily durable EAR valve amplifiers, Tim is also an electronics guru to the professional recording world. His global reputation today is based on more than four decades of making things better, building equipment that stands the test of time.
It was eight years ago that I first met Aalt Jouk van den Hul. I was visiting Ortofon in Denmark, and, with a group of hi-fi journalists from all over Europe, was traveling by bus to visit the cartridge-production facility in the far south of that country. Bus journeys are not my ideal way of passing time; naturally I gravitated to the rear of the bus, where bottles of Tuborg were making their presence felt. One journalist, however—a pixieish fellow hailing from The Low Countries—resisted the blandishments of the opened bottles. Producing a sheath of black-and-white glossies from his briefcase, he announced that he had just developed the ultimate stylus profile!
Before I even turn on the recorder, Willie Nile is telling me his theory of how the granite under Manhattan Island conducts electricity, which accounts for the perceptible charge that many people feel makes New York City so special. It's also what draws artists like flies, none more passionate than singer-songwriter Nile, who's personally contributed a few volts during his years in NYC.
Since he joined Snell Acoustics in the mid-1980s, Kevin Voecks, their chief designer (footnote 1), has been involved in the design or redesign of the entire Snell line, from the minor revision of the Type A/III (incorporation of a new tweeter), to the complete redesign of the Type C (now the CIII). Snell Acoustics is located in Massachusetts, and although Kevin spends a good deal of time there or at the measurement and analysis facilities of the Canadian National Research Council (NRC) in Ottawa, he does a great deal of his conceptual and preliminary design work, as well as his listening, in Los Angeles, where he makes his home. I visited him there last summer to gather a little insight into his background and loudspeaker design philosophy. I started by asking Kevin when had he first become interested in loudspeaker design...
Label heads—those at the very highest positions of power at music companies. To anyone who's spent time near the record business, they're a mythical breed. Like gnomes. Or dragons. Often, it's their vision that spells success or failure for the label they run. And what they say goes. Over the years, many a legendary creature has assumed the title: Goddard Lieberson, Clive Davis, Mo Ostin, to name just a few of those who have survived and prospered. The list of those who did not is at least twice as long.