As We See It

Sort By: Post Date | Title | Publish Date
Filed under
Jason Victor Serinus Posted: Sep 17, 2006 0 comments
"The trouble with some reviewers..."
Filed under
John Atkinson Posted: Jan 04, 2008 Published: Dec 04, 1986 1 comments
The accuracy of a hi-fi system's "soundstage" reproduction seems to be of paramount importance these days, just as a component must now have "transparency" to possess hi-fi righteousness. If the system in which that component is used doesn't give good soundstage, then the system's owner has definitely fallen by the wayside. But what defines a good soundstage? Stereo imaging must have something to do with it, I hear you all cry. (I would have said stereo imagery until Larry Archibald pointed out that imagery has far less to do with hi-fi than with good writing, something I'm sure we agree has no place in a hi-fi magazine.) OK, what defines good stereo imaging?
Filed under
Steve Guttenberg Posted: Oct 19, 2016 6 comments
I'm at Dan D'Agostino's house listening to his triamped Apogee full-range ribbon speakers. It's 1985. His listening room is immense, easily 30' by 45', and we're rocking out to Led Zeppelin and Bonzo Dog Band records. The sound is light-years better than anything I've heard—dynamic as hell, beyond vivid, and the soundstage has infinite depth—and Dan's obviously loving that I'm blown away by his system. We get to talking. He has three pairs of Krell KMA-160 monoblocks and Reference KRS preamps for me. Thanks, I say, but how can I get them home? No problem—Dan has a van.
J. Gordon Holt Posted: Dec 03, 1985 0 comments
The title of this month's column is the legend Sheffield Labs emblazoned on a T-shirt a couple of years ago, to promote their jaundiced view of digital audio. Since then, even Sheffield's reactionary perfectionists softpedalled their anti-digital crusade, perhaps because of the number of CDs they've been selling! Their personnel no longer wear those T-shirts at CES, which is unfortunate. Although most people in the audio field no longer see digital audio as madness, digital denouncing is still very much with us.
Filed under
John Atkinson Posted: Apr 16, 2006 0 comments
Getting a name check from the mainstream press can be a good thing. But as Wes Phillips wrote in his blog on February 5, "to paraphrase Mason Williams on winning an Emmy Award, 'It's like being kissed by a girl with bad breath—you appreciate the honor, but...'"
Filed under
John Atkinson Posted: Jul 27, 1999 0 comments
It was the road signs alongside I-44 that first caught my attention, each with its twin supports neatly snapped halfway up. Then I saw the outlet center east of Oklahoma City, smashed flat as if struck by the mother of all baseball bats swung by a careless god.
Filed under
John Atkinson Posted: Aug 26, 2008 Published: Aug 08, 1991 0 comments
Blame the Puritans! say I. The high end has always had an ostinato accompaniment of grumbles from those who appear to feel that it is immoral to want to listen to music with as high a quality as possible. In a recent letter, for example, Fanfare and Stereo Review contributor and author Howard Ferstler states that "the audio world has more products of bogus quality and shills promoting them than any other industry, bar none," and trots out the old saw that audiophiles "end up spending an excessive amount of money on equipment or tweaking techniques of surprisingly dubious quality."
Filed under
John Atkinson Posted: Dec 15, 2002 0 comments
"Suicide junctions," I calls 'em. The ones with which I'm most familiar are on I-278, just north of the Verrazano Narrows Bridge in Brooklyn, New York, and along North Mopac in Austin, Texas, but they must exist all over the US. Traffic about to enter the freeway must first cross the line of faster-traveling offcoming cars, the intersection's on- and off-ramps crossing in a shallow X.
Filed under
Michael Zeugin Posted: Oct 21, 2008 Published: Nov 22, 1993 0 comments
Toward the end of the 1992 Summer CES in Chicago, J. Gordon Holt ambled into Audio Influx's demonstration room. He was curious about which PDQ Bach CD we were playing, as a fitting end to the show. We chatted about PDQ Bach live concerts and the grand-spoof entrances made by Professor Peter Schickele. Suddenly he said, "You know, these speakers sound real," going on to mention that he hadn't heard many real-sounding systems. I told JGH that most of what I heard at shows and in dealer showrooms nowadays was surrealistic sound.
Filed under
Kalman Rubinson Posted: Jun 26, 2001 0 comments
Listening to multichannel music with the new SACD and DVD-Audio players has produced equal parts contentment and consternation. The contentment is easy to understand: Here are media that can reproduce music with better-than-CD resolution and, for the first time, re-create a believable illusion of the entire acoustic space in which the performance was recorded. The consternation is related to those same two issues: 1) maintaining the resolution and tonal balance relished with high-quality stereo, and 2) making the psychological transition from two-channel to multichannel listening. Both of these are barriers to audiophile acceptance of multichannel music.
Filed under
John Atkinson Posted: Apr 23, 2004 Published: Jan 01, 1999 0 comments
One reason I have never felt the need to invest in a high-end home-theater system is that it is all too easy for me to go 'round to Tom Norton's house. As well as contributing the amplifier measurements and the all-too-rare component review for Stereophile, Tom is technical editor of our companion book, Stereophile Guide to Home Theater (footnote 1). As you might expect, he has access to video equipment that the rest of us can only dream about.
J. Gordon Holt Posted: May 29, 1997 Published: May 29, 1988 0 comments
During the late 1950s, when high fidelity exploded into a multimillion-dollar industry, product advertisements bragged about bringing the orchestra into your living room. Apparently, no one realized what an absurd concept it was, but there are still many people today who believe that's what audio is all about. It isn't. There is no way a real orchestra could fit into the average living room, and if it could, we would not want to be around when it played. Sound levels of 115dB are just too loud for most sane people, and that's what a full orchestral fortissimo can produce in a small room.
Art Dudley Posted: Jan 12, 2009 0 comments
Much has been made of the influence that Linn, Naim, and Rega have had on our ideas about music-system hierarchies: Before they and a handful of other British audio manufacturers kicked off the debate in the 1970s, the conventional wisdom worldwide was that the loudspeaker was more important than the record player, amplifier, or any other link in the domestic audio chain, and thus deserved to be the object of significantly greater care and attention, not to mention investment of cash. But the Brit-fi approach was different, and ostensibly better reasoned: Because musical information that's distorted or dropped entirely by a record player, a CD player, or any other source can't be made right by any other component in the system, it is the source that must be considered the most important component of all, and to which the majority of funds should be allocated.
Filed under
Robert Schryer Posted: Nov 15, 2016 10 comments
My friend was in dire straits. What had been rare occurrences of panic attacks—one every year or so—had turned into a full-blown panic disorder that made it impossible for him to enjoy peace of mind..

If you've never suffered a panic attack, the idea of one—of being, in the absence of any real threat, suddenly overwhelmed by fear—can seem inconceivably strange. Try to imagine fear flooding your mind with such fierce momentum that you struggle to catch your breath, so convincing is the sensation that everything is spinning horribly out of control. Once that happens and the fear has taken over, it doesn't matter if the threat is real or not.

Filed under
John Atkinson Posted: Apr 16, 2000 0 comments
In this issue you can find a full report from the 2000 International Consumer Electronics Show, held last January in Las Vegas. By contrast to the 1999 CES, the Y2K Consumer Electronics Show was considerably more upbeat, both according to my own observations and to those experts who specialize in judging the size of Las Vegas conventions: the city's taxi drivers. Yes, there were some rooms where lonely exhibitors were more than usually pleased to welcome a visitor from the press, but to judge from the home-theater exhibits at the Las Vegas Hilton's Convention Center and the specialty audio exhibits at the Alexis Park Resort Hotel, as well as the companies exhibiting at the splinter T.H.E. Show at the St. Tropez, the joint was jumping.

Pages