As We See It

Sort By: Post Date | Title | Publish Date
Filed under
John Atkinson Posted: Jan 02, 2000 0 comments
The January 2000 issue of Stereophile is actually the last to be published in 1999, so, at the risk of adding to your millennial fatigue (footnote 1), it is appropriate to devote much of this month's magazine to navel-gazing. Robert Baird, Chip Stern, David Patrick Stearns, and Larry Birnbaum examine the state of recorded music, while in the first of two articles, Markus Sauer questions the beliefs that underpin the audiophile world. And this "As We See It" offers an overview of what used to be called "high fidelity."
Filed under
Art Dudley Posted: Jan 15, 2010 0 comments
I'm fortunate to own some very nice hi-fi gear: Different turntables, tonearms, and pickups for different records. Two pairs of really superb full-range loudspeakers. A choice of mildly exotic amplifiers—my favorite combination of which (a stereo preamplifier and a pair of monoblock power amps) sells for a little over $21,000. The average American consumer would think that's insane.
Filed under
Barry Willis Posted: May 11, 2003 0 comments
"There's a flat screen in your future."
Filed under
Robert Harley Posted: May 01, 2009 Published: Jan 01, 1993 0 comments
"Everybody, including myself, was astonished to find that it was impossible to distinguish between my own voice, and Mr. Edison's re-creation of it."—Anna Case, Metropolitan Opera Soprano, 1915
Barry Willis Posted: Apr 30, 1999 0 comments
The night after we got home from the 1999 Consumer Electronics Show in January—see the report in this issue—my dear companion and I attended a performance of Madama Butterfly at San Francisco's beautifully refurbished War Memorial Opera House. It was a Tuesday evening, traditionally a big event for the Opera's benefactors. From our box seats, we had an excellent view of a production musically sumptuous and visually austere—and of a sea of gray and balding heads.
J. Gordon Holt Posted: Apr 17, 1979 Published: Apr 18, 1979 0 comments
101 years ago, the tinfoil cylinder started it all. Within 22 years, its heyday was done, and public support swung to favor the then-new wax-mastered disc. 1948 saw the switch to a slower speed and a finer groove, but the flat disc, traced by a stylus, has held sway for almost 80 years now. Even today, people with multi-speed turntables and a couple of arms (or plug-in cartridges) can reproduce from a single phono unit the earliest or the latest discs merely by the flip of two switches (for speed change and cartridge change). All that is about to come to an end.
Filed under
John Atkinson Posted: Sep 01, 2011 11 comments
A recent e-mail from a reader asked why we list the recordings and systems used by Stereophile writers in their reviews. I responded that we do so in order that readers can place our value judgments in context, and predict how those products might sound with different ancillaries and recordings when they audition the products reviewed at their local high-end audio retailer.
J. Gordon Holt Posted: May 08, 2010 Published: Mar 08, 1984 0 comments
The American computer industry was a little shaken up to learn recently that the Japanese micro manufacturers had gotten together and standardized their component interconnections so that any Japanese computer will (supposedly) plug into any Japanese printer, modem, or competing computer, and work right off the bat. Anybody who has tried to fire up an Apple computer with a Diablo (Xerox) printer will appreciate what the Japanese move means in terms of compatibility. It means "For no-hassle interconnections, buy Japanese."
Filed under
Steve Guttenberg Posted: Dec 22, 2014 Published: Jan 01, 2015 12 comments
We all have secrets, and it's about time I came clean with one of mine: I enjoy recorded music more than concerts.

I know, that's a sacrilege—as a lifelong music lover, I'm supposed to relish the live event, with all of the energy and connection between musicians and audience that can happen only when they're all breathing the same air. That may be true for you, but not for me. I've harbored the guilt for years: When I take the plunge and attend a concert, I rarely enjoy the experience enough to justify the effort and expense.

Filed under
Ken Gould Posted: Feb 24, 2009 Published: Aug 24, 1993 0 comments
A hot topic for discussion in recent issues of Stereophile has been the impact Home Theater has had on the High End. Some of the magazine's contributors—J. Gordon Holt and Corey Greenberg, for example—have written that the advent of Home Theater means that we should expand the audio context of the magazine to include reviews of video components (footnote 1). Others, including Bob Harley, Tom Norton, and myself, feel that we should stick to what we know and love—audio—and enter the new field only to advise Stereophile's readers on how to achieve the best sound from a Home Theater system. However, missing from the debate in our pages so far have been any comments from those in the business of selling and demonstrating high-end products and, increasingly, Home Theater systems. Accordingly, this month I am running a guest editorial from a man who perhaps typifies the high-end, specialist retailer: Ken Gould of Audio Nexus (footnote 2). Please note that Mr. Gould's opinions are his own and do not represent those of the magazine.John Atkinson
Filed under
Robert Harley Posted: Nov 05, 2004 Published: Oct 01, 1993 0 comments
I've watched from the sidelines with great interest the recent debate in this column over Home Theater (footnote 1) At one extreme is the suggestion that Stereophile begin reviewing video and Home Theater products. The other end of the spectrum was best expressed by John Atkinson at Stereophile's 1993 High-End Hi-Fi Show in San Francisco. Hearing the booming bass overflow of a Home Theater demonstration blasting down a hallway, he said, "They've brought televisions to our hi-fi show!"
Filed under
John Atkinson Posted: Dec 10, 2007 Published: Dec 01, 1994 0 comments
As easy as it is to communicate electronically, some things are still better done in person. At too-infrequent intervals, I visit Stereophile's writers, listen to their systems, and basically get them to show'n'tell the components they're reviewing. In this way, if they describe what I'm hearing, I have the confidence to publish their review, even if its findings run counter to accepted wisdom.
Filed under
John Marks Posted: Nov 12, 2006 0 comments
The single most enduring controversy in audio is: What method or methods should we use to evaluate the performance of audio equipment?
Filed under
Jim Austin Posted: Sep 09, 2004 Published: Sep 01, 2004 0 comments
Conventional wisdom has it that you should listen to an audio component, preferably in your own system, before you decide to buy it. But who, these days, has the opportunity to do this consistently? Even an audition in the store isn't guaranteed; I have to drive two hours to get to the nearest dealer with decent customer service and a good inventory of interesting gear. And though he generally stocks a fairly wide range of components, like any dealer, he carries only a small sample of all the hi-fi gear that's currently, in principle, available.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading