Features

Who Stole The Bass? / No One Stole The Bass Page 2

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.
Wed, 04/29/1987

COMMENTS
mandyhousehold's picture
Submitted by mandyhousehold on April 2, 2011 - 4:32pm

How can you steal something that wos never there? I have spent most of my life listening to live music, my ears are usually left ringing on a Monday morning (quite regularly), to acheive the same levels in my house, it seems it would be cheaper to just hire the band, I think you are all talking pish! I hate audiophiles, not because Iam jealous of what they own, but becuase of the pure pish they talk. Come down to the real world of music and domestic Hi-Fi, if you never hear it, you will never miss it will you? I hear you all waxing lyrical over Naim, Linn, Krell, Wadia, etc etc, 90 percent of the world will never be able to afford the hardware they sell, should they just give up on Hi-Fi and take up mountain biking or something else? NO, they shouldnt, because back in the real world, where the Mission 760i`s and Mordaunt Short Ms10`s live, there is some really really good hi-fi at large... and bollox to your high end nonsense, I buy Hi-Fi so I can listen to my music, I dont buy music so I can listen to my Hi-Fi. The Nad 3020 took the audiophile world by its Nads in the 80s, the Pioneer A400 took a bite in the 90s, everynow and then, audiophile equipment will be embarrassed by peasants, when this happens, it should be celebrated, not nocked and dissed, I have listened to some pretty high end Hi-Fi in my day of building my budget priced Hi-Fi in the listening rooms of the RETAILERS (that is another word for salesmen, well trustworthy yeah) and no, I could not afford the cables you needed to run them let alone the components, can I live without them? Is my budget Hifi awsome (which incedently includes a pair of 20 year old Mordaunt Short MS 10s which I have never been able to depart with despite having a rather larger budget to play with nowadays) HELL YEAH! If I won the lottery, I would re-commission the Nad 3020, Mission Cyrus One and Two, and the Pioneer A400 along with some of those crappy 80s mini speakers you talked about, and I bet they could shake up some of 2011s offerings all over again. Infact....if you can afford such awsome Hi-Fi, you obviously have money to throw away, so why dont you try that? I live in a terraced house, and I dont think the kind of speakers you say I should own would fit, and if they did, the neighbours would probably shoot me.

Pages

Features

Who Stole The Bass? / No One Stole The Bass

Martin Colloms  |  Apr 29, 1987

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.
Wed, 04/29/1987

As We See It

Where We Are & How We Got Here Page 3

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.
Fri, 01/30/1987

As We See It

Where We Are & How We Got Here Page 2

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.
Fri, 01/30/1987

As We See It

Where We Are & How We Got Here

J. Gordon Holt  |  Jan 30, 1987

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.
Fri, 01/30/1987

Historical

The Musician in the Middle Page 2

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.
Wed, 01/21/1987

Historical

The Musician in the Middle

Lewis Lipnick  |  Jan 21, 1987

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.
Wed, 01/21/1987

Historical

No-Holts-Barred: 25 Years of Stereophile Page 2

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
Sat, 01/17/1987

Historical

No-Holts-Barred: 25 Years of Stereophile

Edward T. Dell, Jr.  |  Jan 17, 1987

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
Sat, 01/17/1987

Historical

Audio: The View From Outside Page 3

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.
Sat, 11/29/1986

Pages

X