There is something refreshingly no-nonsense about the design and construction of this turntable. It looks as if someone just said, Okay, this, that, and the other thing need to be done. Let's do it. And then they did it. In appearance at least, it is about as simple a design as you're likely to find. What sets it apart from other simple designs is that this one is built like a battleship! Everything is heavy-duty (notto mention heavy), from the 10-lb, lead-laminated aluminum platter to the ¼"steel-reinforced subchassis.
If you are to believe all the promotions for the Compact Disc, simply buying a player will transport you instantly to sonic nirvana. No background noise! No distortion! Flat frequency response from 20 Hz to 20kHz, pIus or minus zilch! The most perfect sound that modern hightech can provide! But if CD sound is so perfect, what are so many people screaming bloody murder about? It seems that half the golden ears who hear it are smitten with hate at first hearing. The other half finds it the best thing since tax shelters.
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 companiesReference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UKconsistently 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
I believe it was 1958 when I first heard a transistorized audio product. The Fisher TR-1 was a small battery-powered box that provided microphone preamplification and inputs for three magnetic phono sources.
Whenever an audio high-ender thinks about tubes, he usually thinks about Audio Research. This is only natural, because Audio Research Corporation was almost single-handedly responsible for saving tubes from oblivion in the early '70s when everyone else switched to solid-state. But ARC was soon joined in its heroic endeavor by an upstart company called Conrad-Johnson, which entered the fray in 1977 with its PV-1 preamp, priced at an affordable (even then) $500.
To high-end audiophiles, the Boulder 500 amplifier and its less expensive derivative, the 500AE (Audiophile Edition), would not seem to be "high-end" designs. They are designed around op-amps (felt by many to be generally poor-sounding), they have scads of negative feedback (which is perhaps why op-amps sound bad), and they have only a moderately hefty power supply. Why, then, is Stereophile publishing a review of an op-amp–based power amplifier? Read on...
These speakers inadvertently managed to put me in a good mood even before I listened to them, because of a dumb little gaffe committed by Thiel's packing department. Each speaker came with an Owner's Information sheet, which is nice. Each sheet included Unpacking (and Repacking) Instructions, which is nicer. But each sheet came packed inside the carton, underneath the speaker, where it was not accessible until after the speaker was dumped out of the box, which is pretty silly!
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.
Last October, in Vol.11 No.10, Stereophile's Founder and Chief Tester J. Gordon Holt stated, in his acerbic editorial "The Acoustical Standard," that, in his opinion, only recordings for which there is an original acoustic reference—ie, typically those of classical music—should be used to evaluate hi-fi components. And that in the absence of a consensus over such a policy, high-end component manufacturers were losing their way over what does and does not represent good sound quality.
It was 45 years ago this month that the first issue of Stereophile, just 20 pages in length, went in the mail. It had been founded by one J. Gordon Holt. Gordon had been technical editor of High Fidelity magazine in the 1950s, and was tired of being asked to pander to the demands of advertisers. "I watched, first with incredulity and then with growing disgust, how the purchase of a year's advertising contract could virtually insure a manufacturer against publication of an unfavorable report," he said in a 1974 article looking back at those dark times. And if a company didn't buy advertising, they didn't get reviewed at all. The Stereophile, as it was then called, was Gordon's answer to audiophiles' need for an honest, reliable source of information. "Okay, if no one else will publish a magazine that calls the shots as it sees them, I'll do it myself," he later wrote.
Many audiophiles will look back on the summer of 1982 as the year the creeping cruds invaded their hallowed halls of hi-fi. In the Conrad Hilton hotel, where most of the high-end contingent gathered at the June 1982 Consumer Electronics Show, one exhibitor was featuring a videodisc presentation with wide-range audio and insisting that this was the way of the future. And at least three others had managed to smuggle in digital tape recorders (all Sony PCM-F1s), and were giving many CES visitors their first taste of real, unadulterated, digital reproduction.
The October 1982 issue of Stereo Review published what must be hailed (or derided) as the first reasoned assessment of high-end audio ever presented in a mass-circulation hi-fi publication. We disagreed with a few of the author's points, but our main gripe about the piece prompted a letter to Stereo Review. This is what we wrote: