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Robert Harley Posted: Mar 29, 1995 0 comments
Time to 'fess up: How many of you actually read the "Measurements" sections of Stereophile's equipment reports and understand what's being measured, and why? I suspect that many readers skip over the technical assessment of the reviewed product and make a dash for the "Conclusion."
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Martin Colloms Kristen Weitz Posted: Mar 28, 1995 0 comments
The Complete Guide to High-End Audio
by Robert Harley
450+xxiv pp., $29.95 softcover, $39.95 signed hardcover. Published by Acapella Publishing, P.O. Box 80805, Albuquerque, NM 87198-0805. Credit-card orders: (800) 848-5099.
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Dick Olsher Posted: Mar 26, 1995 Published: Mar 26, 1991 0 comments
Frankly, I'm fed up with the prophets of doom, those false seers who forecast vinyl's imminent demise. Some claim to have seen the writing on the wall as far back as ten years ago, sensing that the advent of the CD would perforce relegate the stylus-in-groove method of transduction to the trashpile of history. First of all, most of the music I enjoy happens to be on LP. And I'm sure I speak for many audiophiles who have also spent a lifetime building up a vinyl collection when I say we're not about to throw away our cherished treasuries of music. These LPs I expect to enjoy until the end of my time. Thus, I welcome any phono-system technological advance that will recover more information from the groove.
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Thomas J. Norton Posted: Mar 25, 1995 0 comments
In the October 1994 Stereophile (Vol.17 No.10, p.39), I discussed my experiences with the DTS audio data-reduction code/decode switch box, which, briefly, is a two-channel box that makes use of the algorithm DTS has proposed for their version of discrete multichannel sound for laserdiscs.
Paul L. Althouse Posted: Mar 18, 1995 0 comments
J.S. BACH: Secular Cantatas
"Coffee Cantata," BWV 211; "Peasant Cantata," BWV 212; Durchlauchtster Leopold, BWV 173a
Dorothea Röschmann, soprano; Hugues Saint-Gelais, tenor; Kevin McMillan, baritone; Les Violons du Roy, Bernard Labadie
Dorian DOR-90199 (CD only). Craig D. Dory, eng.; Brian C. Peters, eng., prod. DDD. TT: 73:13
John Atkinson Posted: Mar 07, 1995 5 comments
Back in the spring of 1990, Stereophile introduced its first Test CD, featuring a mixture of test signals and musical tracks recorded by the magazine's editors and writers. Even as we were working on that first disc, however, we had plans to produce a second disc which would expand on the usefulness of the first and feature a more varied selection of music. The result was our Test CD 2, released in May 1992.
John Atkinson Posted: Mar 03, 1995 Published: Mar 03, 1994 0 comments
Back in the summer of 1968, I bought a secondhand pre-CBS Fender Precision Bass guitar for the grand sum of £35 (then about $75) (footnote 1). It was so cheap because the previous owner had pretty much scratched the sunburst finish to ribbons. The P-Bass may have looked like roadkill but it played like a dream, so I decided to refinish its body. Paint stripper removed the remains of the original nitrocelloluse lacquer, leaving me with a white wood body—ash, I understand—which I carefully sanded and stained. Contrary to what you might expect, the finish of an electric guitar does have an effect on the sound, so I thought long and hard about how I was going to varnish the body. I ended up applying thinned gloss-finish polyurethane, which I then sanded, repeating this process some five or six times, using finer and finer sandpaper, until the application of a final coat of varnish gave as close to a mirror-smooth finish as I could get...which wasn't anything near as perfect as the piano-lacquer rosewood finish on the samples of the Monitor Audio Studio 6 loudspeaker that Monitor Audio USA sent for review!
John Atkinson Various Posted: Feb 25, 1995 Published: Feb 25, 1988 0 comments

I am puzzled. No, really. I know you find it hard to believe that we sacerdotes of the golden-eared persuasion could ever be perplexed, but I have been pondering the imponderables of ports. Ever since the classic work of Richard Small and Neville Thiele in the early '70s showed how the low-frequency response of any box loudspeaker can be modeled as an electrical high-pass filter of some kind, with the relevant equations and data made available to all, there would seem to be very little reason why all loudspeakers with the same extension should not sound alike (or at least very similar) below 100Hz. Yet after reviewing 20 dynamic loudspeakers (and using 24) in the same room over the last seven months, I am led to the conclusion that speakers vary as much in the quality of their mid-to-upper bass as they do in any other region. A few are dry, more are exaggerated in this region; some are detailed and "fast," most are blurred, with the upper bass "slow" (by which I mean that the weight of bass tone seems to lag behind the leading edges of the sound).

Thomas Conrad Posted: Feb 25, 1995 0 comments
TIGER OKOSHI: Two Sides to Every Story
Tiger Okoshi, trumpet; Mike Stern, electric guitar; Gil Goldstein, acoustic piano; Dave Holland, acoustic bass; Jack DeJohnette, drums
JVC JVC-2039-2 (CD only). Jim Anderson, eng.; Akira Taguchi, prod. DDD? TT: 65:20
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John Atkinson Posted: Feb 08, 1995 0 comments
"Never explain, never apologize." But in this month's "As We See It," I intend to do both. First, the apology:

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