J. Gordon Holt

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J. Gordon Holt Posted: Jun 28, 2016 Published: Sep 01, 1967 0 comments
By the time you read this, in the fall of 1967, the "Dolby system" will probably be old hat to you. Every other audio publication has been describing it, discussing it, and hailing it as the greatest invention since sex.

We've seen that kind of press ballyhoo before, about such significant advances as the Edsel, the 16-rpm LP and the "thin-profile" loudspeaker, so our first inclination was to be a wee bit skeptical of the Dolby. It seemed too good to be true.

J. Gordon Holt Posted: Jun 09, 2016 Published: Oct 01, 1984 1 comments
CD player prices continue to go down and, surprisingly, sound quality goes up; the Yamaha CD-X1 is an example of both. It's a front-drawer loader with some interesting innovations. Pushing the Open/Close button opens the drawer; it can be closed either by pushing the same button again or by pressing lightly against the end of the open drawer. (We understand this was done because many such players have been damaged by users trying to force the drawer shut by hand.)

The unit has three operating modes: Auto, Manual and Single. In Auto, play begins as soon as the drawer is closed, or as soon as the AC is turned on if a disc is already loaded. In Manual, play begins only when you press the Play button. Single is the same as Manual except that the unit goes into Pause after playing a single selection. Pressing Pause then plays the next selection.

J. Gordon Holt Posted: May 03, 2016 Published: Dec 01, 1964 4 comments
Well, the New York Hi-Fi wingding has come and gone once again, and now is the time when audio editors dutifully adopt the role of oracle, divining the future of high fidelity, and generally sketching out The Big Picture for those of us too blind to see the graffiti on the wall. So, who are we to shirk our duty? Herewith, The Stereophile's audio observations and predictions for 1965.
J. Gordon Holt Posted: Apr 12, 2016 Published: May 01, 1966 0 comments
Editor's Note from 1974: As you can read in the following "As We See It," the last issue of Vol.1 No.12 (cover dated "Spring 1966") was perhaps not as "strong" as it might have been. If we had been doing things according to Proper Business Practice, we should have held back our best articles and our gutsiest reports until that issue, as a high-powered incentive for our subscribers to renew their subs. We didn't. There were better articles and a greater variety of topics covered in earlier issues, but Issue 12 was significant in that it set the pattern of topic emphasis, and the balance of reports versus other editorial material, that was to continue more or less unchanged for the next 7 years.
J. Gordon Holt Posted: Apr 05, 2016 Published: Sep 01, 1966 10 comments
Our mail, in recent months, has brought a number of comments (some of them printed in this issue) from professional audio men who decry the fact that developments in the audio field seem to have come to a screeching halt.

There would seem to be some justification for believing this, too. There hasn't been a new kind of loudspeaker, amplifier, pickup, or tuner for the past five years or so. The professional engineering journals, once loaded with juicy articles about research and developments in music reproduction, are now devoted largely to public-address techniques and new methods for the "creation" of electronic music.

J. Gordon Holt Posted: Mar 16, 2016 Published: Sep 01, 1965 1 comments
This is by no means a new product. It was available in a stereo version as far back as 1961, and apart from a couple of minor refinements—the addition of a bias compensator and a new, lightweight shell—it is still the same arm, and it still has the reputation of being the perfectionist's tonearm.
J. Gordon Holt Posted: Mar 15, 2016 Published: Jul 01, 1968 1 comments
While we were preparing our list of specifications for our perfectionist's tape recorder discussed elsewhere in this issue, we suddenly came to a screeching halt at the spec which started "Scrape flutter less than . . ."

What, we wondered, was the scrape flutter percentage in a recorder in which scrape flutter is audible? Would it be 0.5%? Or 1%? Or even 5%? We perused the readily available literature, and were informed that "scrape flutter is caused by the tape's tendency to move past the heads in a series of tiny jerks in stead of in a smooth gliding motion." We were also told that scrape flutter is due to friction between the tape and the head surfaces, plus the slight elasticity of the tape that allows it to stretch slightly before being dragged along by another silly millimeter, and that it sounds like a rough edge riding on all signal frequencies between about 3kHz and 8kHz.

J. Gordon Holt Posted: Feb 16, 2016 Published: Dec 01, 1962 5 comments
When the Record Industry Association of America adopted its standard disc playback equalization curve in 1954, hi-fi enthusiasts heaved a sigh of relief and bade fond farewell to years of confusion, doubt and virtual pandemonium. Before the RIAA curve there were six "standard" curves in use, and since nobody seemed to know who was using what, getting flat response from a disc was often more a matter of luck than anything else. The adoption of the RIAA standard playback curve heralded an end to all this.
J. Gordon Holt Posted: Jan 21, 2016 Published: Nov 01, 1962 18 comments
Considering the amount of careful research, cautious theorizing and wild speculation that have been lavished on the amplifier power question, we should expect to be considerably closer to the answer in 1962 than we were five years ago. This does not seem to be the case.
J. Gordon Holt Posted: Dec 08, 2015 Published: Jan 01, 1963 16 comments
Two letters from readers (see below) started us thinking again about something we've mulled at, off and on, for the past year or so: Does today's high-fidelity equipment, for all its vastly improved performance, actually sound that much better than the best of the early components?
J. Gordon Holt Posted: Dec 08, 2015 Published: May 01, 1978 4 comments
This is an electrostatic column speaker, 6' tall and costing $6000/pair. An integral, fan-cooled amplifier is located in the base. The 2SW is said to cover almost the entire frequency range and is based on a patent, number 3,668,335, issued to manufacturer/designer Harold Beveridge on June 6, 1972. Internal acoustic lenses in front of the electrostatic panels widen the speaker's dispersion: In the Beveridge literature, it says "This 6-foot high device consolidated the entire frequency range into a vertical line source, and uniformly disperses it over a horizontal pattern, 180 degrees wide. The beaming characteristics of the high frequencies are ingeniously translated into the same dispersive pattern as the low frequencies, creating a perfectly balanced cylindrical sound wave front."
J. Gordon Holt Posted: Nov 18, 2015 Published: Dec 01, 1969 18 comments
Four-channel stereo is here, but for how long? By the time this gets in print, it is extremely unlikely that any of our readers will have escaped being told that 4-channel stereo is here. "Two channels brought us direction," the announcements trumpet. "Now, four channels bring us dimension." Now, for the first time in the history of hi-fi, modern technology can bring us hall acoustics in stereo, to surround us with the sense of spaciousness that we hear in the concert hall.
J. Gordon Holt Posted: Nov 12, 2015 Published: Dec 01, 1966 0 comments
When we first heard rumors that Shure Brothers was about to unleash something called "trackability" on the audio world, our reaction was mainly one of indifference. We already had loudspeakers with listenability, tape recorders with portability, and amplifiers with stability and dependability. Trackability, we figured, was just another clever sales gimmick; a catchy word that the advertising department had thought up to describe what everyone wanted in a pickup.
J. Gordon Holt Posted: Oct 12, 2015 Published: Dec 01, 1979 4 comments
Long-time Stereophile readers May be dismayed by what appears to be our unfettered satisfaction with some of the recent crop of new components. Aren't we, after all, dedicated to the pursuit of perfection? Do we really feel that some products are all that close to it? The answer to both questions is "Yes."
J. Gordon Holt Posted: Sep 15, 2015 Published: Mar 01, 1971 9 comments
In the 1952 edition of the Radiotron Designer's Handbook, long recognized as the "bible" of the industry, the permissible level of IM distortion for a high-fidelity amplifier was given as 3%, with the alternate figure of 2% being cited as a "rather extreme" specification. We wonder what the author of that statement would think of today's solid-state amplifiers with their measured IM of 0.01% and less. And we wonder what he would think about the fact that these super-amplifiers still have audible distortion.

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