Interviews

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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."

Robert Baird Posted: Apr 28, 2011 0 comments
Whistling ductwork, whirring fans, murmuring pipes—along with being jazz's most storied location, a living shrine to the memories of Bill Evans, John Coltrane, and so many others, Manhattan's Village Vanguard, on Seventh Avenue South, was, on this winter's night, the Das Boot of jazz. In every corner, every stairwell, every square foot of available backstage space, some kind of furnace machinery audibly ground, banged, and/or wheezed away.
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John Atkinson Posted: Feb 25, 1988 0 comments
Elsewhere in this issue, I review the new Spica Angelus loudspeaker, only the fourth product to appear from this Santa Fe-based manufacturer since it started operations at the end of the 1970s. You will have to read the review to learn what I thought of the speaker, a distinctively styled floor-standing two-way, but I also thought it would be beneficial to talk with Spica's founder and chief engineer John Bau. I therefore made arrangements to meet with him in their facility just a couple of blocks from Stereophile's old Early Street HQ. I had been told that John was tall, but until he unfolded himself from his stool in his laboratory, surrounded by computers and computerized test equipment, I had not realized how tall! Undaunted, I settled into a conventional chair, pointed the microphone in a vaguely upward direction, and asked John how he had gotten into loudspeaker design.—John Atkinson
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Steve Harris Posted: Jul 14, 2009 0 comments
Editor's Note: John Crabbe was Editor of Hi-Fi News & Record Review when I joined that magazine as a lowly editorial assistant in September 1976. At the end of 2007, I had asked Steve Harris to interview John for Stereophile, as part of an ongoing project to create an oral history of high-end audio (footnote 1). Sadly, John passed away in December 2008—see "As We See It" and "Industry Update," in our March issue. We are publishing Steve's interview as a tribute to a man from whom I learned my craft as an audio magazine editor.—John Atkinson
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Steve Harris Posted: Jan 14, 2007 0 comments
"This won't be a short job," says Arcam's president, John Dawson (footnote 1). He's talking about the challenge of engineering the next generation of Arcam home-theater products to embrace the new high-resolution video formats. It's possibly the biggest technical challenge English company Arcam has faced since, almost exactly 30 years ago, Dawson and his original business partner, Chris Evans, launched their first product—an unpretentious, 35W hi-fi amplifier called the A&R Cambridge A60.
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Robert Deutsch Posted: Jun 07, 1994 0 comments
Canadian speakers from such companies as Mirage, PSB, and Paradigm have acquired international reputations for offering good sound at more-than-competitive prices. The latest Canadian speaker manufacturer to hit the big time might well be Energy, which has actually been around for about 15 years, but has only recently introduced a flagship speaker. Energy's $6000/pair Veritas v2.8 earned Tom Norton's commendation for having produced one of the best sounds at the 1993 Las Vegas WCES. [TJN's review appears in this issue.—Ed.]
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John Atkinson Posted: Jun 09, 2015 Published: Jan 01, 1995 2 comments
It was with regret that I heard John Ulrick had passed away on May 20, 2015 due to complications from cancer. With Arnie Nudell and Cary Christie, John was one of the founders of loudspeaker manufacturer Infinity, a company that, with Audio Research, Magnepan, Mark Levinson, and Threshold, epitomized the nascent High End that emerged in the early 1970s. After leaving Infinity, John Ulrick started Spectron, to manufacture class-D amplifiers.

Just by chance, I met with the John Ulrick, in Los Angeles in late 1987, when he was doing some design consultancy on a switch-mode power amplifier to be used with the Sumo Samson subwoofer. As I had my Walkman Pro with me, I took the opportunity to tape some background from John about the birth of Infinity and about switching/pulse-width-modulated/class-D amplifiers—boy, can this man talk about switching amplifiers! The natural kickoff question was, How did Infinity get going?

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Jonathan Scull Posted: Jan 05, 2000 0 comments
Judy Spotheim, maker of the SpJ arm and the gorgeous La Luce turntable that I reviewed a while back for Stereophile (October 1998) and that has subsequently become one of my references for LP playback. She's an intelligent, well-read individual who has a penchant for asking me, "You didn't read that in the manual?!" Ahem. Although the following interview was taped on the phone from her home in the Netherlands, I hope to meet her sometime soon.
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Stereophile Staff Posted: Mar 07, 2016 0 comments

As part of his preparation for reviewing Merging Technologies' NADAC Multichannel-8 networked D/A processor in the March 2016 issue of Stereophile, Kal Rubinson talked with the Swiss company's Dominique Brulhart.

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J. Gordon Holt Posted: Feb 17, 2015 Published: Aug 01, 1984 6 comments
Keith Johnson is the man responsible for the records issued by Reference Recordings, from Professor Johnson's Astounding Sound Show through Tafelmusik—not to mention upcoming releases of Your Friendly Neighborhood Big Band and Respighi's Church Windows. As is frequently the case, Johnson's astounding recordings result from his intimate (molecular-level) knowledge of the process with which he deals and his ingenious adaptations to squeeze the most out of available (and not so available) technology. He is also one of the few critics of digital recording who has actually used a digital recorder, who has run tests to specifically identify digital's problems, and who would welcome a digital format that works as perfectly as the claims would have us believe the current system works.—Larry Archibald
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Wes Phillips Posted: Oct 21, 1997 0 comments
Stereophile Editor John Atkinson walked into our office brandishing a CD (footnote 1). "Guess what Ken Kantor did? He took a year off from running NHT (footnote 2) to make this disc."
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Wes Phillips Posted: Mar 03, 1996 0 comments
Kevin Hayes: Valve Amplification Company arose out of my dissatisfaction with the stereo gear I could buy. I've been an audiophile since before I knew what the word meant, going back to the mid-'70s. I had an epiphany when I first heard a piece of old tubed gear, a Fisher X101, that simply blew away a highly touted receiver that I happened to own. It was a 25W integrated amplifier, using 7591s on the output, and except for sustained organ-pedal notes, it was far better than what I had at that time.

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