As We See It

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Jason Victor Serinus Posted: Mar 28, 2013 Published: Apr 01, 2013 0 comments
Cole Porter: An All-Star Tribute (DVD, VAI) includes outtakes of the great Ethel Merman filming for TV, in 1960, a performance of Irving Berlin's "Alexander's Ragtime Band." In take after take, something goes wrong. Each time the director shouts "Cut!," Merman stops in her tracks, almost as if deflating; when the director yells "Action!" she starts from the top, fresh as new, the model showbiz professional.
J. Gordon Holt Posted: Jul 10, 2008 Published: Jun 10, 1984 0 comments
I believe it was 1958 when I first heard a transistorized audio product. The Fisher TR-1 was a small battery-powered box that provided microphone preamplification and inputs for three magnetic phono sources.
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Robert Harley Posted: Jun 04, 2009 Published: Mar 04, 1992 0 comments
"Experience which is not valued is not experienced....Value is at the very front of the empirical procession."—Robert M. Pirsig, Lila
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John Atkinson Posted: Mar 31, 1994 0 comments
Stereophile Consulting technical editor Robert Harley and I were walking down Brooklyn's Flatbush Avenue trying to remember where we'd parked our rental car. We were in town for the Fall 1993 Audio Engineering Society Convention, and had just had dinner with record reviewer Beth Jacques.
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Jason Victor Serinus Posted: Oct 07, 2008 0 comments
I'm scared. I've just returned from a visit to the isle of my birth, Manhattan. As the spouse and I walked to Stereophile's offices to meet John Atkinson and Stephen Mejias for dinner, we passed some of the most valuable real estate in the country. It was hard to imagine that, if global warming continues at its current, ever-accelerating pace, the buildings we were marveling at will soon be below sea level.
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John Marks Posted: May 15, 2009 0 comments
For roughly the same amount of money, you can buy a new Toyota Camry or a used mid-sized Mercedes-Benz sedan. The new car has several things going in its favor: no one else has ever driven it, smoked in it, or ferried dogs and kids and fast-food leavings in it, and it comes with a fresh warranty and the latest safety equipment. But the used Mercedes has other things in its favor: having started with a much larger "build budget," it is, simply, more car for the money all around—you just have to pick a good one.
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John Atkinson Posted: Jun 24, 2013 Published: Jul 01, 2013 9 comments
In the wrap-up of his coverage of the 2013 Salon Son & Image show in Montreal, which took place at the end of March, Robert Deutsch asked if there were too many audio shows. The Chicago AXPONA show was held two weeks before SSI, the second New York Audio Show followed less than three weeks later. In May, there was the humongous High End 2013, in Munich, followed two weeks later by the third T.H.E. Show Newport Beach, followed by: the Capital AudioFest, in Washington, DC (July 26–28); the fourth California Audio Show, in the Bay Area (August 8–11); the tenth Rocky Mountain Audio Fest (October 11–13); and TAVES in Toronto (November 1–3).

While this is no more shows than took place in 2011 or 2012, many exhibitors, manufacturers and distributors alike, to whom I talked at the spring events felt that the high-end audio industry is suffering from an overload of audio shows.

J. Gordon Holt Posted: Jun 09, 2007 Published: Apr 09, 1986 0 comments
Much of the descriptive terminology used in subjective reporting describes things we hear in live music, and expect—or, rather, hope—to hear from reproduced music, too. I'm referring to terms like width, depth, perspective, spectral balance, and tonal accuracy. If you read our reports, you know these terms as well as I do, and since they are (for most people) self-explanatory, I will devote no more time to them.
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John Atkinson Posted: Sep 07, 2007 Published: Mar 07, 1995 0 comments
"Writing about music is like dancing about architecture."—Laurie Anderson
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John Atkinson Posted: May 26, 2001 0 comments
As part of this issue's coverage of the recent Consumer Electronics Show (see Sidebar), I report on my dissatisfaction with almost all the surround-sound demonstrations I experienced in Las Vegas. As a music-lover, the last thing I want is to have trumpets and drums attacking me from behind, yet almost without exception, that is what record producers seem to feel is an essential part of the DVD-Audio and SACD experiences.
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John Atkinson Posted: Nov 28, 2007 Published: Aug 01, 1995 0 comments
In common with the mood of our times, there seems to be an increasing amount of bad temper in the High End. There are more people around who, in Jonathan Scull's timeless phrase, have a "level of audiophile rage very close to the surface." Witness, for example, the "cancel my subscription" letter from Professor Daniel H. Wiegand in this issue: he obviously feels a line has been crossed.
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John Atkinson Posted: Nov 13, 2005 Published: May 13, 1990 0 comments
"The large peak at 16kHz reported by Stereophile...was nowhere in evidence...The most probable explanation of this discrepancy is that the [Waveform supertweeter's] very light ribbon depends on the air load for damping, and that load is much smaller in the thin air up there at 7000' in Santa Fe than at altitudes where less lightheaded and scientifically more accountable reviewers dwell." Thus spake Peter Aczel (footnote 1), erstwhile loudspeaker designer and Editor/Publisher of the reincarnated The Audio Critic, a publication that advertises itself as having "unusual credibility among the top professionals in audio."
J. Gordon Holt Posted: Jul 31, 2009 0 comments
A reader who asked to remain anonymous wrote to tell us the results of some tests he saw conducted on one of our top-rated loudspeaker systems. Frequency-response checks showed that the system had virtually no deep bass, a midbass peak, a midrange slump, and a high-end rise. Further checks had shown gross distortion at input levels of over about 6W, and a definitely limited (although adequate for Row-M listening) maximum output-level capability. Said reader then went on to ask how we could possibly consider such a speaker to be one of the best available.
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John Atkinson Posted: Dec 06, 2000 0 comments
Charles Hansen said it best, in a recent e-mail: "People have been holding back from criticizing this technology because they weren't certain that some new discovery hadn't been made." Ayre Acoustics' main man was talking about "upsampling," whereby conventional "Red Book" CD data, sampled at 44.1kHz, are converted to a datastream with a higher sample rate. (Because of its association with DVD-Audio, 96kHz is often chosen as the new rate.)
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Barry Willis Posted: Feb 08, 2004 Published: Feb 01, 2004 0 comments
To every action there is always opposed an equal reaction.—Sir Isaac Newton, 1687

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