Every music-loving audiophile has a unique storya story of the first time he or she was grabbed, body and soul, by a first, usually low-budget listen to a 78, LP, CD, open-reel, cassette, or MP3a story that continues today in that audiophile's quest for high-end bliss. For me, it was my desire to move closer to the voices of the singers I most loved.
Fifty years ago this month, Vol.1 No.1, Issue No.1 of The Stereophile, published, edited, and mostly written by J. Gordon Holt out of Wallingford, Pennsylvania, hit the newsstands. Gordon had worked for two major audio magazines, High Fidelity and HiFi/Stereo Review (later renamed Stereo Review), and had been disgusted by those magazines' pandering to advertisers. Not only was The Stereophile going to tell it like it was, it was going to judge audio components by listening to thema heretical idea in those days of meters and measurements. "Dammit," said Gordon, who died in 2009, "if nobody else will report what an audio component sounds like, I'll do it myself!"
Before 1982, when the Compact Disc arrived, I didn't love LPs. Analog was already very old tech, and while every trick in the book had been applied to turntables and LPs, they still wowed & fluttered at 33 1/3 revolutions per minute. Vinyl's deficiencies were legion: warped LPs were more common than truly flat ones; surface noise, clicks, and pops sang along with the tune; LPs rarely had perfectly centered spindle holes; inner-groove distortions popped up at inopportune moments; and each time an LP is played, its sound quality degrades, if only ever so slightly. The LP format? Imperfect sound forever.
In the old days, when audio-show reports routinely appeared in the print edition of Stereophile, life was easier. I spent my show days visiting exhibitors and listening to new gear, but I decorated those days with record shopping, dining out, and staying up late to visit with friends in the industry. And because hard-copy deadlines always seemed to be at least a few days away, I would wait until I'd returned home before doing any actual writing.
I was recently reunited with an old friend from high school. My best friend from high school, in fact. Our families got together, everyone got along, and as the dust of conversation settled toward the rug of companionable silence, talk turned to work. And when the inevitable happened, and my old friend and his wifeclassical-music lovers bothasked how much a person had to spend these days in order to get a good music system, I answered their question with a questiona question that, crazily enough, just popped into my head...
A few years ago, while on vacation in Puerto Rico, I found myself sitting at a nearly empty beach bar, discussing music with Cassie Ramone, singer and guitarist for one of my favorite bands, Brooklyn's Vivian Girls. (I was as surprised as anyone by the strangeness of this chance encounter, but that's another story.) When the conversation turned to the topic of so-called "lo-fi" bands, Cassie's tone became critical, almost bitter: "No one wants to make 'lo-fi' records," she said.
Portland, Maine, my hometown for the better part of two decades, is a pretty hip place. We are not, for the most part, innovators in fashion, but we are early adopters of the more interesting latest styles.
For years now, what I take to be a Brooklyn style has been prevalent among the local twentysomething crowd. The hipper restaurants are full of pretty young women and bearded men in plaid shirts who, on the one hand, seem ready for the woodlot but who, on the other hand, seem too skinny to lift a decent-size chainsaw. Likely as not, they arrived on single-speed racing bikes converted for commuter use. Nifty machines.
Stop me if you've heard this: On January 10, at Avery Fisher Hall in New York's Lincoln Center, a performance of Mahler's Symphony 9, led by conductor Alan Gilbert, was stopped in its tracks by the ringing of an iPhone.
It wasn't just any part of the Mahler Ninth: It happened during the exceedingly quiet closing measures of the final movement.
It wasn't just any symphony orchestra: It was the New York Philharmonic, which Gustav Mahler directed during the last two years of his life.
"...and measures bad, then you're measuring the wrong thing!" If one motto could sum up this magazine's philosophy, this would be it. Too many times we have discovered components that sounded musically fabulous while offering measured performance that was, at best, merely competent. Yet recently, I'm starting to lose confidence in that old saw.
On a number of occasions, I or another of Stereophile's reviewing team has heard a product sounding flawed in ways later revealed by measurements. A closed story, you might thinkbut consider the NEAR-50M loudspeaker reviewed by Dick Olsher in this issue. Despite hearing many good things in the speaker's sound, Dick was bothered by a tonal-balance problem in the low treble. He was also disturbed by a lack of integration between the tweeter and midrange unit. When I measured the '50M, my response graphs (footnote 1) pretty much explained why Dick heard what he heard. Nevertheless, other reviews of this loudspeaker have been ecstatic in their praise, one even stating that it was "one of the most transparent and balanced dynamic loudspeakers available at any price" (my italics).
Every time I stepped from the slow elevator onto the casino floor at Harrah's, where Stereophile's editors spent their sleepless nights, my hatred for Las Vegas was revitalized. It felt like some kind of bad joke: Oh god, I'm still here. I would turn right and see the same flashing lights, the same low ceilings, the same peoplestill sitting, still smoking, still hoping, still staring blank-faced into spinning screens of cherries, spades, and jokersand I would wonder why.
There's an old Woody Allen bit about his mother running the family's food through a "deflavorizing machine" a couple of times, just to make sure dinner was completely tasteless. Well, that's what a lot of contemporary music sounds like to me. Booker T. Jones's recent album The Road from Memphis has some great tunes, but the sound of the album pales in comparison with his seriously funky work with Booker T. & the MG's in the 1960s. It's not just that the new CD is maximally compressed and processed to a fare-thee-wellit's a totally lifeless recording. But this isn't just another analog vs digital diatribe. The problems have little to do with the recording format; it's the way recordings are now made. Too many are assembled out of bits and pieces of sound to create technically perfect, Auto-Tuned, Pro Tooled music. It's not that great music can't be made that way, but it's sure as hell less likely to get my mojo workin'.
Children, for the most part, are normal human beings who like to make believe that they're extraordinary, just for fun. Adults, on the other hand, are delusional creatures who enjoy pretending that they're normal, simply for their own peace of mind.
You know about them: audio products or tweaks that fall outside the standard definition of audio component. They're not source components like CD players, not amplifiers or preamplifiers, not loudspeakers, not power-line conditioners or cablesand, if aimed at modifying room acoustics, they're not the standard devices that absorb or disperse sound. Let's call them Unorthodox Audio Products (UAPs). They promise a kind of audio panacea: something that fixes whatever's wrong with the sound of your system.
On this page in the May 2011 issue of Stereophile, Steve Guttenberg became the latest in a long line of prophets of doom who periodically announce that jazz is deceased. Guttenberg argued that "Digital audio mortally wounded recorded music's creative mojo in 1982" and was "stifling creativity in rock and jazz."
I bring glad tidings to Stereophile readers. When it comes to jazz, Guttenberg is dead wrong. The jazz art form today is rich, diverse, deep, and international.
My "As We See It" in the July 2011 issue seems to have touched a nerve. At the AXPONA NYC audio show last June, more than one person stopped me in a corridor to take issue with what they thought I'd written.
That column certainly brought the Beethoven worshippers out of the woodwork. Look, I revere Beethoven, and I stand by what I wrote in the July issue: There can be little doubt, in terms of his impact on the course that Western music would follow, that Beethoven was the most important composer. But "most important" in terms of music history is not the same thing as the composer whose works most deeply touch my heart. For that, Beethoven is just not in my Top Five.