As We See It

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John Atkinson Posted: Jan 27, 2008 Published: Jun 01, 1987 0 comments
Enid Lumley accosted me in the corridors of Santa Monica's BayView Plaza Hotel in March: "That doesn't sound like a real piano!" I was taken aback. The sound to which the redoubtable Ms. Lumley was referring emanated from a 7' Steinway we had hired for James Boyk to play at the Stereophile show. Jim was conducting a series of tutorials on how the sound of a real piano is constituted, so Enid's criticism, on the face of things, seemed absurd. As my face obviously showed this conclusion, she hastily explained that, of course it was a real piano, but the fact that it overloaded the 40-seat room in which it was being played caused it to sound different from the sound of a real piano played in a concert hall. To lead visitors to the show to expect piano records to sound similar to what Jim was producing was dishonest.
J. Gordon Holt Posted: Sep 24, 2009 Published: Jan 24, 1988 0 comments
When I attended the Audio Engineering Society convention in October 1987 (my first time in over eight years; full report in this issue), I was impressed by the incredible technology now available to composers of music. I was also dismayed, however, by the extent to which so-called purist audio, as well as "acoustical" music, have been consigned to oblivion by the pro audio community. It was clear, both from the exhibits and the many conversations on which I eavesdropped, that audio professionals are no longer concerned about fidelity, in the sense of trying to reproduce sounds accurately. A "real" sound has become to them merely raw material of no value except as something to be processed, manipulated, folded, bent, and spindled to produce any sonic effect except the original one. About a third of the products displayed at the 83rd AES convention were tools for doing that.
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Corey Greenberg Posted: Oct 09, 2005 Published: Jul 09, 1992 0 comments
Epiphanies only come when you stop looking for them, and mine came in a room full of preschoolers watching cartoons at a Pizza Hut. I was taking my little nieces Alix (4) and Casey (1) out for dinner, and the last thing on my mind was audio; we wanted to PARTY! So my girlfriend Dara and I bundled them up in their car-seats and we high-tailed it over to the Hut, with visions of continuous-loop Tom'n'Jerry and cheap buffet pizza dancing in our heads.
John Marks Posted: Aug 12, 2008 Published: Aug 13, 2008 0 comments
In the 1970s, a small black-and-white ad sometimes ran in the pages of Playboy magazine. The ad pictured an attractive young woman with lots of disheveled hair and a crooked grin. There was little else to the ad other than the headline, which the reader would assume was being spoken by the model: "It takes more than Martinis to build an image, Mister!"
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Robert Harley Posted: Mar 22, 2009 Published: May 22, 1993 0 comments
When I taught a recording engineering program at a California college, one of my first responsibilities to new students was to clarify for them what recording engineering was really about. Many of them entered the program with the impression that recording was nonstop glamor, with a significant part of the job devoted to partying with their favorite rock bands. It was my job to tell them the bad news: Recording was more about lying on your back underneath a recording console on a dirty studio floor with hot solder dripping on your face.
J. Gordon Holt Posted: Oct 22, 2014 Published: Oct 01, 1980 36 comments
We are aware that much of what we have to say about reproduced sound in these pages goes completely over the heads of a lot of our readers, simply because they have not heard live, un-amplified music recently enough (if ever) to relate their own listening experiences to our observations. These are the people who tend to have developed a strong mental image of what hi-fi ought to sound like, and it is not surprising that that image should bear little if any resemblance to reality. In most cases, this image of hypothetical perfection involves a broadly sweeping sense of spaciousness, awesome power, floor-shaking low end and silky, velvety highs—rather similar, one might say, to the sound of a Magnificent Magnavox with a couple of extra octaves at each end.
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Larry Archibald Posted: Oct 12, 2009 0 comments
"What about coming over for a little bit of din-din?"
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John Atkinson Posted: Jul 14, 2002 0 comments
Although I was trying to earn a living playing in rock bands in the early 1970s, I occasionally used to drag my Fender bass over to a school canteen in the next town for an after-hours session with what used to be called a "rehearsal band." (I have no idea what the derivation of that name is, except that, with the exception of a couple of veterans of the Ted Heath Orchestra, we were certainly in need of all the rehearsal we could get.) I would set up my Marshall stack the other side of the drummer from the pianist and sit behind a set of trumpet players, a brace of trombonists, and a scrum of players of the common saxophone flavors—a couple of altos, three or four tenors, and a baritone wielded by a gentleman with the magnificent moniker of Albert Bags. We played Glenn Miller and Woody Herman charts, and, on one memorable night, a Stan Kenton arrangement. Our technical chops didn't match our musical ambitions, but the feeling that welled up inside us when we all reached the final measure at the same time couldn't be beat.
Robert Harley Posted: Jul 29, 1991 0 comments
A man who had just looked through his very first Stereophile---April's "Recommended Components" issue picked up at a newsstand---recently called to ask my advice on a certain inexpensive CD player made by a large mid-fi company. I told him I hadn't auditioned the player and thus couldn't comment on its worth. The man then proceeded to read me the player's specifications, finally informing me that the player "had the new 1-bit thing"---all in the belief that I could make a recommendation based on what he'd just told me. He apparently had been conditioned to believe that not only was "the 1-bit thing" superior, but that choosing a CD player was merely a matter of evaluating technical specs.
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Laura LoVecchio Posted: Jun 12, 2005 0 comments
On Friday morning, March 25, 2005, my friend Maura Rieland, Stereophile's show coordinator through the second half of the 1990s, e-mailed me to say that she had just learned of the passing of Ken Nelson.
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Herb Reichert Posted: Jul 21, 2014 Published: Aug 01, 2014 7 comments
Playing recorded music in the home is a complex, coded, cultural experience: We sit, we listen, we think and dream—and, when it feels just right, we admire. We admire who we are and how we arrived at this beautiful moment. This simple act of admiration is usually a happy sort of self-congratulatory expression of our basic desire to have meaningful as well as enjoyable experiences. We are proud of our good taste and love of music. But this type of listening can also provoke anxiety and self-recrimination. We ask ourselves why we like this music and not some other kind. What would my friends think if they knew I was listening to "truckin' wit' th' doo-dah man"—or Deodato?
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J. Gordon Holt Posted: Dec 25, 1987 0 comments
When I attended Britain's Heathrow Penta hi-fi show in September 1987, I had hoped to come back with big news about some breakthrough cartridge or preamp or loudspeaker system. I didn't. No, the talk of the Penta show was something called the "Belt Phenomenon," which may possibly be a breakthrough of some kind, but then again, it may not.
J. Gordon Holt Posted: May 28, 2015 Published: Aug 01, 1976 3 comments
Editor's Note: In Stereophile's second decade of publication, things were starting to unravel, with long gaps between each issue. There were just seven issues published between January 1974 and January 1978. The late Harry Pearson has gone on record that he founded The Absolute Sound in 1973 part because he was tired of waiting for the next issue of Stereophile to reach his mailbox. In this "As We See It" essay from the "Surface Noise" issue in August 1976, founder J. Gordon Holt owns up to it appearing 8 months late!
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John Marks Posted: Mar 12, 2000 0 comments
Does high-end audio have a future? High-end audio most definitely does have a future. So do the Latin mass, chess, leather-bound books, and wooden boats. But the future will not be like the past, and I think we must face the fact that high-end audio's future, both for hardware and software, will be as a minority enthusiasm. We should plan and act accordingly.
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Wes Phillips Posted: Oct 16, 2005 0 comments
Although you're reading this in October, I had to write it in the middle of summer's dog days—what Washington journalists used to call "the silly season," not so much because there's anything inherently funny about August, but because, in pre-AC DC, all the legislators went home then to escape the heat and humidity, leaving the press corps with little to write about other than "man bites dog" stories.

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