As We See It

Sort By: Post Date | Title | Publish Date
Filed under
Jim Austin Posted: May 29, 2012 4 comments
Portland, Maine, my hometown for the better part of two decades, is a pretty hip place. We are not, for the most part, innovators in fashion, but we are early adopters of the more interesting latest styles.

For years now, what I take to be a Brooklyn style has been prevalent among the local twentysomething crowd. The hipper restaurants are full of pretty young women and bearded men in plaid shirts who, on the one hand, seem ready for the woodlot but who, on the other hand, seem too skinny to lift a decent-size chainsaw. Likely as not, they arrived on single-speed racing bikes converted for commuter use. Nifty machines.

J. Gordon Holt Edward T. Dell, Jr. Posted: Nov 29, 2016 Published: Apr 01, 1967 2 comments
Editor's Note: in the main, Stereophile has steered clear of DIY audio projects, leaving them to magazines like The Audio Amateur, which was published by the late Edward T. Dell. But one of the exceptions was this 1967 article on the "Brute," a tube amplifier design by none other than Ed Dell. Note that the DIY competition mentioned by Gordon Holt is long closed to entries.—John Atkinson

There's a platitude to the effect that the road to Hell is strewn with good intentions. Well, we don't see ourselves as headed for perdition, but we must admit that we are surveying a rather impressive-looking junk pile of good intentions at this point.

Denis Stevens Posted: Dec 24, 2008 Published: Apr 03, 1990 0 comments
Paul Gowan's letter in the October 1989 Stereophile hinted that, whether or not audiophiles enjoy music, it should be true that the emotional experience we derive from music is what really matters. There, barefaced, lies the problem: who are "we"? A well-known Latin epigram affirms that in matters of taste there is no point in discussion. And a Greek epigram (coined in fact by Max Beerbohm in his Oxford novel Zuleika Dobson) suggests that "for people who like that kind of thing, that is the kind of thing they like."
J. Gordon Holt Posted: Nov 09, 2016 Published: Aug 01, 1964 2 comments
Like every sensible publication, The Stereophile keeps track of the questions raised by readers who write to us, so we can get some idea of what most of you would like to see in future issues of the magazine. To date, the list looks like this, in order of diminishing interest: transistor amps and preamps, loudspeakers, pickups, tape equipment, tuners and, way at the bottom of the list, recordings. We are devoting most of the August 1964 issue to a discussion of commercial recording practices.
Filed under
Jason Victor Serinus Posted: Sep 20, 2016 17 comments
What do Prince, David Bowie, Merle Haggard, Gato Barbieri, Phife Dawg, Frank Sinatra Jr., Keith Emerson (Emerson Lake & Palmer), Dan Hicks (Dan Hicks and His Hot Licks), Maurice White (Earth, Wind & Fire), Paul Kantner and Signe Toly Anderson (Jefferson Airplane), Glenn Frey (Eagles), Dale Griffin (Mott the Hoople), pianist Paul Bley, bassist Rob Wasserman, sopranos Susan Chilcott, Phyllis Curtin, and Denise Duval, countertenor Brian Asawa, composers Steven Edward Stucky and Sir Peter Maxwell Davies, and conductors Pierre Boulez, Nikolaus Harnoncourt, Gilbert Kaplan, Gregg Smith, and Royston Nash have in common? Besides the fact that all were musicians who made multiple recordings and who died in 2016, their recorded legacies rarely, if ever, get airplay at dealerships or audio shows.
J. Gordon Holt Posted: Dec 31, 1969 Published: Jun 01, 1963 1 comments
Editor's Introduction: In 1963, Stereophile's founder J. Gordon Holt published attacks on what he saw as the single largest step backward in high-fidelity sound reproduction at that time: RCA's introduction of "Dynagroove" LP records, where the recorded signal was pre-distorted and dynamically equalized to compensate for the poor performance of cheap phonograph players. "Issue 5...revealed most of RCA Victor's 'revolutionary' new system as nothing more than a sophisticated way of bringing higher fi to record buyers who don't care enough about hi-fi to invest in a decent playback system." Ten years later, Gordon wrote that, "As of 1974, the best we can say for Dynagroove is that there is no audible evidence of it on current RCA releases." (These articles were reprinted in June 1992, Vol.15 No,6, as part of Stereophile's 30th-anniversary celebrations.)John Atkinson
J. Gordon Holt Posted: Apr 29, 1985 0 comments
A tradition is anything we do, think, or believe for no better reason than that we have always done it, thought it, or believed it. Most traditions are followed in this mindless and automatic way, and, if questioned, are defended with the argument of, well, that it seems to work. It's time-tested, true-blue and, because so familiar, as comfy as an old slipper. So why rock the boat, throw a wrench in the works, or fix it if it ain't broke.
Filed under
Jon Iverson Posted: Aug 02, 2001 0 comments
"He's putting the drums in the rear channels?!?"
Stephen Mejias Posted: Jul 10, 2008 0 comments
It was a simple little thing that turned into so much more. Michael Lavorgna started it. Out of the blue and as sudden as spring, he sent an e-mail to me and speaker designer John DeVore: "Let's plan a trip to the Princeton Record Exchange!" And, just in case 60,000 beautiful LPs wouldn't be enough of a lure, Michael put a cherry on top: "The Triumph Brewing Company is right next door!"
Filed under
Robert Harley Posted: May 27, 2007 Published: Mar 27, 1997 0 comments
Just about everyone knows that a new high-quality digital audio disc, called DVD, is being developed by the world's electronics giants. What few realize, however, is how politics and corporate politics influenced the format's technical specifications. The result may be unnecessary sonic degradation for millions of music listeners.
Filed under
John Atkinson Posted: Sep 10, 2005 Published: Nov 10, 1997 0 comments
"This is offensive!" muttered usually mild-mannered Malcolm Hawksford, who was sitting next to me. "I'm leaving." The good professor was right. One thousand or so attendees at the 103rd Audio Engineering Society Convention, held at the end of September in New York, were being subjected to truly terrible sound. The irony was that the sound was that of 2- and 5-channel recordings made with 24-bit resolution and a 96kHz sampling rate, being played over a colored PA system to demonstrate the future of audio, in the form of DVD-Audio.
Filed under
John Atkinson Posted: Dec 05, 2004 Published: Feb 05, 1998 0 comments
"Do you have another DVD player?" asked Classic Records' Michael Hobson. As is usual in important demonstrations, Murphy's Law had struck with a vengeance. The prototype Muse DVD player Kevin Halverson had worked on most of the previous night was refusing to play the DVD Mike had placed in its tray.
Filed under
Robert Harley Posted: Nov 14, 2007 Published: Aug 01, 1996 0 comments
The announcement in October 1995 of the Digital Versatile Disc (DVD) set the hearts of audiophiles and music lovers pounding. Although primarily a digital video and computer-data storage format, DVD's massive capacity could be applied to a "super CD" audio-only disc. Finally we would be liberated from the musical limitations of the CD's 16-bit word length, 44.1kHz sampling rate, and two-channel format. We were tantalized by reports of 96kHz sampling rate, 24-bit word length, and multichannel playback. Digital redemption appeared to be just around the corner.
Filed under
John Atkinson Posted: Dec 05, 2004 Published: Dec 05, 1995 0 comments
As you can read in this month's "Industry Update" (pp.35 & 37), the two conglomerates who hitherto seemed driven to offer the world two competing standards for the forthcoming Digital Video Disc came to their senses. Instead of consumers being offered Toshiba/Warner/Matsushita's SD and Sony/Philips's MCD, there will be just one high-density 4.75" disc to take both video and audio data storage into the 21st century.

Pages