Interviews

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John Atkinson Posted: Nov 29, 2010 Published: Oct 15, 1987 0 comments
1087azima.jpgIn its first three years, UK hi-fi manufacturer Mission Electronics employed a number of engineers to reinforce the creative talents of founder and hi-fi enthusiast Farad Azima. The lineup included John Bicht, now with Versa Dynamics, and Stan Curtis, now heading up Cambridge Audio. But when Farad's brother Henry—"Henry" is actually a nickname and I am sure you can see the derivation—joined the company in 1979, he brought both a much-needed stability, and initiated a considerable degree of commercial success for the company's products. Now resident in Canada, he spends his time commuting between his laboratory in Toronto and the company's headquarters near Cambridge, England (footnote 1). Prior to joining Mission, however, Henry had served in the Iranian Navy for 15 years, an unusual training for an audio engineer. I asked him if this had been an appropriate preparation for the world of hi-fi.

Henry Azima: I had actually been a student in the UK, studying electronic engineering at the University of Surrey in Guildford. When I left the Navy in 1979 after the revolution in Iran, I moved to the UK and got a job with my previous University as an Assistant Lecturer and Researcher. However, Farad then asked me out of the blue to join Mission. I said, "Well, I have no idea about hi-fi, and stuff like that." He said, "You will learn, there's no problem!"

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Jonathan Scull Posted: Jul 08, 2007 Published: Mar 08, 1997 0 comments
Our interview with Hiroyasu Kondo—founder of Audio Note Japan, and a legendary figure in his own time—took place during HI-FI '96 last June at the Waldorf=Astoria. It seemed very natural; the crowd at the Show was very internationalist. Herb Reichert of Audio Note New York found us a quiet corner after lunch, and we sat down to talk.
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Wes Phillips Posted: Apr 09, 1996 0 comments
To get some background information both on Aerial Acoustics and on the 10T loudspeaker that I review this month, I gave Aerial's Michael Kelly a call. When had he got involved in loudspeakers, I asked...
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David Lander Posted: Nov 30, 2003 Published: Nov 01, 2001 0 comments
In July 1877, Thomas Edison wrote that he was sure he would "be able to store up & reproduce at any future time the human voice perfectly," and the word phonograph soon began showing up in his lab notes. By the time Ivor Tiefenbrun stepped onto the audio industry soundstage, nearly a century had passed, and even discriminating listeners took the record player for granted. But Tiefenbrun had discerned sonic differences among players, and he knew that his LP12—he had built a prototype for personal use—was a superior performer. When people told him that turntables do no more than go 'round and 'round, he would rebut them by pointing out that speakers merely go in and out.
Kalman Rubinson Posted: Mar 25, 2007 0 comments
Iván Fischer, founder and conductor of the Budapest Festival Orchestra, has performed with many major orchestras and recorded for a number of major labels, most significantly with Philips, from 1995 to 2004. Fischer/BFO made the first multichannel orchestral recording for SACD, which Philips used as a demonstration disc for their first SACD players. I still treasure that disc—it demonstrates many of the advantages of the medium with a wide and varied program—but it has never been commercially released.
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Jonathan Scull Posted: Sep 21, 2004 Published: Oct 01, 1998 0 comments
Kathleen (K-10) and I first met Jack Renner—Telarc's Chairman, CEO, and Chief Recording Engineer—at Iridium, a tony jazz club here in New York. He was recording Benny Golson and the Jazz Messengers doing a rousing a tribute to Art Blakey. Now what would you think a guy who's won 31 Grammys over 21 years would be doing, exactly? Maybe feet up, a cigar languidly tracing curlicues in the air while directing his minions?
Robert Baird Posted: Jan 29, 2015 8 comments
For famously civilized and jaded New York City, the crowd at the resplendent Beacon Theatre is uncommonly involved. Loud requests, many in tangled liquor dialects, boom from the balcony:

"'REDNECK FRIEND'!"

Onstage, Jackson Browne smiles and shakes his head.

"'COCAINE'!"

"I could do that, but it would have to be the rehab version." [crowd roars]

"'FOR A DANCER'!"

Oh, wait—I'm yelling that.

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Jonathan Scull Posted: Mar 31, 1998 Published: Apr 01, 1998 0 comments
Jacques Mahul is an interesting, thoughtful man. He's entirely Parisian: international, urbane, and sophisticated. During "HeeFee" '96 in Paris, Kathleen and I sat down with him and spoke about his early years as an audiophile. To accompany my review of the JMlab Utopia, We tried to find out what drives him—to make the drivers he makes today! I asked him when had it all started:
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John Atkinson Posted: Jun 07, 2010 Published: Sep 07, 1986 0 comments
It is a widely held belief that musicians do not assess hi-fi equipment in the same way as "audiophiles." I remember the British conductor Norman Del Mar—an underrated conductor if ever there was one—still being perfectly satisfied in 1981 with his 78 player, never having felt the need to go to LP, let alone to stereo. And some musicians do seem oblivious to the worst that modern technology can do. I was present at the infamous Salzburg CD conference in 1982, for example, where Herbert von Karajan, following one of the most unpleasant sound demonstrations in recorded history, announced that "All else is gaslight!" compared with what we had just heard. J. Gordon Holt proposed a couple of years back ("As We See It," Vol.8 No.1) that sound is not one of the things in reproduced music to which musicians listen. I have also heard it said that even the highest fidelity is so far removed from live music that a musician, immersed in the real thing, regards the difference between the best and the worst reproduced sound as irrelevant to the musical message: both are off the scale of his or her personal quality meter.
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Jason Victor Serinus Posted: Feb 21, 2014 Published: Feb 24, 2014 3 comments
Some months back, SACD and DSD champion Jared Sacks, founder of Channel Classics, stopped by Casa Bellecci-Serinus in Oakland for an extended chat about the history of his label, recording in DSD, and his new NativeDSD.com download site. I started our conversation by asking Jared to share his history with music and the industry with Stereophile:
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Robert Baird Posted: Jun 25, 2013 Published: Jul 01, 2013 1 comments
Tune those young ears, Mr. Anderson! After a 30-year career in audio engineering that's seen his name appear in the credits of over 1700 albums, Jim Anderson, who won the 2013 Grammy for Best Surround Sound Album, for his remastering of Patricia Barber's Modern Cool, thinks education is the key to stemming the tide of degraded sound that threatens to swallow the recorded-music industry. Anderson, who's taught for a decade in New York University's Clive Davis Department of Recorded Music, starts his students early.
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Steve Guttenberg Posted: Jan 02, 2005 Published: Dec 02, 2004 0 comments
Jim Fosgate fits the category of Classic American Inventor to a T. This softspoken, quietly intense man has earned 18 patents and founded three successful electronics companies. In the late 1970s, he pulled out of the car audio business to follow his quadraphonic bliss, and designed the Fosgate Tate 101, arguably the finest quad decoder of the era. He also created the best-selling matrix surround processor of all time, Dolby's Pro Logic II, and in 2003 won an Emmy for the Development of Surround Sound for Television. He now serves as a senior executive consultant for Fosgate Audionics, a division of the Rockford Corporation.
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John Atkinson Posted: Mar 16, 1998 0 comments
There was something odd about the clock on Jim Thiel's office wall. I didn't get it at first, other than noting that instead of the minutes being marked off at 12 five-minute intervals, Jim's clock had 24 markings. That was it: as well as the number "12" in its usual place at the top of the face, there was another "12" at the bottom, where the "6" usually is. The clock that Jim built was typical of everything this laconic loudspeaker engineer is involved in: logical, functional, and different from what anyone else in the same field does. In his cigarette-strained drawl, Jim explained that the short hand of his clock always points toward the sun: directly up at noon, directly down at midnight. That's the way a clock should be, declared Jim, and when you're in his company, it's hard to see how he could be wrong.
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David Lander Posted: Apr 23, 2004 Published: Jan 01, 2003 0 comments
The Pennsylvania Gazette documented an early connection between music and an American named Winey when, in 1759, it listed for sale as part of an estate "a middle sized organ, having eight stops." Interested parties were directed to one Jacob Winey, a Philadelphia merchant.
Robert Baird Posted: Dec 02, 2015 22 comments
Talk dirty to me!

"I had to master this record 11 times to get it to sound the way I wanted," Joanna Newsom growled with the knowing grit of someone who's worked through a sonic ordeal.

"Instead of test pressings, we had test lacquers for this one."

"I have no way to listen to music digitally in my house."

Oooh, baby!

At a time when the future of print is troubled, Newsom can make even a magazine editor feel slightly more secure.

"I love your magazine. I love your publication."

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