As We See It

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J. Gordon Holt Posted: May 07, 2010 Published: Nov 07, 1984 0 comments
I had an experience at last summer's CES in Chicago that bordered on the religious. I heard the legendary $42,000 Wilson WAMM system.
J. Gordon Holt Posted: May 07, 2010 Published: Apr 07, 1982 0 comments
There was a time, very recently in terms of human history, when high fidelity promised to free the music lover from the constraints of the concert hall and the local repertoire, allowing him to choose at his whim any orchestra in the world playing any work he desired under the baton of any conductor he preferred. "All the pleasure of concert-hall listening, in the comfort of your home," was the way one display advertisement painted this musical utopia which, only 20 years ago, seemed right around the corner.
J. Gordon Holt Posted: May 03, 2010 Published: May 03, 1982 0 comments
As another Consumer Electronics Show rolls around, we are seeing some interesting and not-entirely encouraging things taking place in the audio field. The people for whom high fidelity was originally intended—so-called serious music listeners —have abandoned audio almost completely, leaving the pursuit of perfect music reproduction to a group of hobbyists who have more interest in hardware than in music. This, plus the recession, has almost killed middle-fi, which is now flailing out in all directions looking for a new market. Here's how it all came to pass:
J. Gordon Holt Posted: May 02, 2010 Published: Jan 02, 1983 0 comments
A world-renowned musician had scheduled an appearance as guest soloist with the string quartet in residence at a certain university. When he arrived he noticed a pair of microphones arrayed over the small stage and, following the wires, located a college student backstage next to a tape recorder and a pair of headphones.
J. Gordon Holt Posted: Apr 26, 2010 Published: Jun 26, 1982 0 comments
Not too many years ago, high-fidelity movement was being hailed from all quarters (and many halves) as a revolution. In the sense that it took the country storm, and made billions of dollars for many entrepreneurs during heyday, it was indeed a revolution. But now the public has grown tired of high fidelity and is turning other electronic diversions—video, video games, and computering. And what, as of this summer of 1982, do we have to show for the high-fidelity revolution?
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John Atkinson Posted: Apr 12, 2010 0 comments
I was visiting a high-end audio manufacturer several years back, and as the chief engineer and I talked about speaker design, the company's president popped her head around the door and told him that she was sending MacroVision their annual five-figure check.
J. Gordon Holt Posted: Apr 09, 2010 Published: Mar 09, 1986 0 comments
I always enjoy CES. Like the Big Apple, or the City of Angels, the Consumer Elecronics Show is stimulatingly frenetic and enjoyably fatiguing—things that would soon put me in the funny farm if I lived with them year 'round, but can easily cope with twice a year. In fact, attending CES is rather like visiting the city of my birth, a place whose culture is one with my own because I grew up there, and where half the pleasure lies in seeing once again those audio people—the Allisons, Marantzes, Frieds, Beveridges, Haflers, and Tuckers—whose durability as friends always reminds me of how rapidly time passes and how little of it we may have left.
J. Gordon Holt Posted: Apr 08, 2010 Published: Oct 08, 1983 0 comments
A persistent complaint from some of our readers concerns our seeming preoccupation with exotic components. (Presumably what they mean are scarce, unusual, or hard-to-find components, because "exotic" really means "from a foreign country," and there is sure as hell nothing hard-to-find about a Panasonic receiver.) "Why," you ask, "do you devote so much space to reports on components we can't buy from our local audio discounter? Why can't we have more reports about products from the old, established, reliable companies like KLH, Harman/Kardon, Electro-Voice and Sansui, whose stuff we can listen to at a local dealer before we commit our hard-earned dollars to a purchase?" One subscriber even cancelled his subscription because of this, claiming that the unavailability of the products we review makes our reports "irrelevant." Well, he had a point, but not a very good one.
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Steve Guttenberg Posted: Mar 15, 2010 0 comments
I may have had 4000 LPs and a perfectly wonderful Linn LP12 turntable, but I could go for weeks on end without listening to a single LP. But I still thought of myself as one of the vinyl faithful, even as I rationalized my digital-centric listening tendencies. I loved analog in theory—I just couldn't bring myself to listen to it all that much.
J. Gordon Holt Posted: Mar 02, 2010 Published: Aug 02, 1987 0 comments
How can you tell when a politician is lying? His lips move. How can you tell when a recording system is perfect? CBS tries to outlaw it.
J. Gordon Holt Posted: Mar 02, 2010 Published: Feb 02, 1988 0 comments
Now that Sony has bought CBS's records division, and the infamous Copycode bill seems to be dying in Congress, the way may be clearing at last for the US introduction of the new Digital Audio Tape system. This has sparked renewed speculation in the industry about the impact DAT will have on existing formats, particularly the fledgling CD. Some are convinced DAT will kill CD, because of its ability to record as well as play digital recordings. Others believe DAT won't even gain a foothold in the market, for the same reason quadraphonic sound laid an egg back in the '70s: The public can't handle more than one "standard" format. I feel that both views are wrong, and that—as is usually the case with extreme views—the truth lies in between. I believe DAT will catch on in the marketplace, but never in a big way, and certainly not the way CD has. Here's why.
J. Gordon Holt Posted: Feb 26, 2010 Published: Sep 26, 1987 0 comments
During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and Doug Sax had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.
J. Gordon Holt Posted: Feb 26, 2010 Published: Mar 26, 1987 0 comments
Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
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John Atkinson Posted: Feb 12, 2010 0 comments
Back in the last century, I mused in this space about the essential difference between recorded sound and the real thing. I had been walking to dinner with friends when I heard the unmistakable sound of live music coming from a window. But here was the kicker: rather than the instruments being of the audiophile-approved acoustic variety, they were two amplified electric guitars. Their sounds were being reproduced by loudspeakers, yet it was unambiguously obvious that it was not a recording being played through those loudspeakers, but real instruments.
J. Gordon Holt Posted: Jan 26, 2010 Published: Aug 26, 1983 1 comments
Until recently, I have considered LaserVision video discs as a rather dubious medium for serious music reproduction. The only review I had read about it by a critical listener (Harry Pearson in The Absolute Sound) was I singularly unenthusiastic, and since I had not heard one myself, I was inclined to take his word for it.

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