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Martin Colloms Posted: Apr 29, 1987 1 comments
Editor's Introduction: Stereophile's "Recommended Components" feature is, as I am sure you will have guessed, produced by a committee. The reviews are studied, the reviewers polled to verify the continued validity, the merits and demerits of specific pieces of equipment are discussed or, rather, argued over at length by JGH, JA, and LA, and out of the whole business emerges the "truth." But, as with the findings of any committee, what is presented as a consensus will have significant undertows and countercurrents of opinion; if these are very strong, a "Minority Report" is often also produced. Such has been the case this time, concerning loudspeakers.
J. Gordon Holt Posted: Jan 30, 1987 0 comments
1987 will mark Stereophile's 25th year of continuous (if initially sometimes sporadic) publication. And while we haven't yet decided what we're going to do in celebration, the first issue of 1987 does seem to be as good a time as any to contrast the state of the audio art when we began publication with what is routinely possible today.
Lewis Lipnick Posted: Jan 21, 1987 0 comments
Ask most professional symphony musicians for their views concerning recording sessions, and you might be greeted with seemingly nonchalant and cavalier responses. You will probably be told that although recording can be quite lucrative, it is almost always an exercise in futility. If you press further, and inquire as to why these "artists" display such negative attitudes, they would treat you to both a lecture concerning the shortcomings and gross musical distortions usually involved in the recording process, and to a tirade on the incompetence and arrogance of many recording engineers and producers. And once you have opened this can of worms, you will undoubtedly be told about the frustrations of having to deal with inaccurate and distorted representations of their art at the hands of the musically inept.
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Edward T. Dell, Jr. Posted: Jan 17, 1987 0 comments
Editor's Introduction: 1987 sees Stereophile celebrating its 25th anniversary of continuous—if occasionally sporadic—publication. For an ostensibly "underground" publication to have survived so long is a tribute to the skills and enthusiasm of the magazine's founder and Editor, J. Gordon Holt. I thought it fitting, therefore, to ask a contemporary of Gordon's, Ed Dell (footnote 1), himself a respected publisher and editor, to pen an appreciation of the man who defined the world of subjective reviewing.—John Atkinson
Lewis Lipnick Posted: Nov 29, 1986 0 comments
I have a confession to make: I play contrabassoon . . . for a living. Now to many this may not seem like such a sin, but within the musical community my instrument is viewed with about as much regard as the common garden slug. This perception is not completely unjustified; often being relegated to roles depicting monsters and evil, along with the occasional digestive grunt, helps perpetuate the general disdain for the contra. However, playing the lowest (non-keyboard) instrument in the symphony orchestra gives me a somewhat different perspective on things, not unlike that of a dwarf in a crowded elevator: a view from the bottom up. It's amazing just how much pitch and harmonic coloration there is down in the subbasement. And shoring up the foundation of the wind section, as well as being the true bottom of the orchestral sonority, can be very satisfying. Although playing an instrument with a limited repertoire can sometimes be disconcerting, it also has its advantages. During rehearsals, if I'm not required for a certain work, I can go out into the house for my own private concert, or stay put in the orchestra and get a sonic thrill that makes the IRS and WAMM systems sound like tin cans.
John Atkinson J. Gordon Holt Posted: Nov 25, 1986 0 comments
The Question of Bass: J. Gordon Holt
A few issues back, in Vol.9 No.3, I used "As We See It" to clarify what Stereophile writers have in mind when they use the term "transparency" in equipment reports. This time, I'll do the same thing for the performance parameters of bass reproduction.
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John Atkinson Posted: Sep 25, 1986 0 comments
It has become accepted lore in audiophile circles that the 44.1kHz sampling rate adopted for Compact Disc is too low. Some writers have argued that, as a 20kHz sinewave will only be sampled about twice per cycle, it will not be reconstructed accurately, if at all.
J. Gordon Holt Posted: Sep 10, 1986 0 comments
According to a recent newsletter sent to its regular contributors, our "competition"—The Absolute Sound—sees "controversy and confrontation" as the core of its editorial policy. By contrast, Stereophile sees as its modus schtickus an unflagging devotion to, and pursuit of, truth, reason, all of the eternal verities (including some you never heard of), and the intelligent exchange of informed ideas. In honor of all of the above-mentioned precepts (as well as some I didn't mention), this issue of Stereophile is largely devoted to the confrontation between knowledgeable writers for whom the widely proclaimed perfection of the Compact Disc remains a controversial issue.
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Evelyn & Neil Sinclair Posted: Mar 01, 1986 0 comments
In his April 16, 2001 website essay "Where's Our Freedom of Audio Choice?" reader Jim Tavegia railed against the ubiquitous policy of manufacturers only allowing their products to be available through selected retailers. "If I'm willing to pay the UPS costs, it should be my prerogative to buy equipment anywhere I please," he wrote. This echoes a controversy that appeared in the print magazine 15 years ago. The affair started with some innocent-looking text written by Audio Cheapskate Sam Tellig in the December 1985 Stereophile (Vol.8 No.8):
J. Gordon Holt Posted: Dec 03, 1985 0 comments
The title of this month's column is the legend Sheffield Labs emblazoned on a T-shirt a couple of years ago, to promote their jaundiced view of digital audio. Since then, even Sheffield's reactionary perfectionists softpedalled their anti-digital crusade, perhaps because of the number of CDs they've been selling! Their personnel no longer wear those T-shirts at CES, which is unfortunate. Although most people in the audio field no longer see digital audio as madness, digital denouncing is still very much with us.

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