J. Gordon Holt

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J. Gordon Holt Posted: Dec 04, 1971 Published: Apr 01, 1973 0 comments
"As We See It" in the Stereophile issue dated Summer 1968 (actually published in 1970) noted the idealistic, glowing claims about how four-channel sound could put you right in the concert hail, but urged readers to wait before buying, to see whether quadrisound would indeed bring higher fidelity. We predicted it wouldn't—that whatever the potential of quadrisound (footnote 1), it would not be used to increase fidelity, but rather to play ring-around-the-rosy with music.
J. Gordon Holt Posted: Feb 26, 2010 Published: Mar 26, 1987 0 comments
Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
J. Gordon Holt Posted: Sep 25, 2008 Published: Jan 25, 1984 0 comments
If you are to believe all the promotions for the Compact Disc, simply buying a player will transport you instantly to sonic nirvana. No background noise! No distortion! Flat frequency response from 20 Hz to 20kHz, pIus or minus zilch! The most perfect sound that modern hightech can provide! But if CD sound is so perfect, what are so many people screaming bloody murder about? It seems that half the golden ears who hear it are smitten with hate at first hearing. The other half finds it the best thing since tax shelters.
Larry Archibald J. Gordon Holt Posted: Jan 02, 1995 Published: Mar 02, 1982 0 comments
As of February, 1982, the ownership of this publication passed to other hands. In total despair about its precarious finances, JGH accepted with alacrity an offer by Larry Archibald (an occasional contributor in recent years) to purchase the magazine. This has now come to pass, and it is because of the resulting infusion of money that you are holding this issue in your hot little hands now instead of three months from now (and that is probably being a little optimistic about the way things were).
J. Gordon Holt Posted: May 07, 2010 Published: Apr 07, 1982 2 comments
There was a time, very recently in terms of human history, when high fidelity promised to free the music lover from the constraints of the concert hall and the local repertoire, allowing him to choose at his whim any orchestra in the world playing any work he desired under the baton of any conductor he preferred. "All the pleasure of concert-hall listening, in the comfort of your home," was the way one display advertisement painted this musical utopia which, only 20 years ago, seemed right around the corner.
J. Gordon Holt Posted: Oct 30, 2009 Published: Sep 30, 1984 0 comments
Ever since Stereophile took up the cudgels for subjectivity, and had the temerity to insist that even the best products have certain colorations, we have stressed compatibility in choosing components. By compatibility we do not mean merely matching impedances and signal levels, but mating components whose sonic peculiarities tended to offset one another.
Anthony H. Cordesman Posted: Oct 30, 2009 Published: Jun 30, 1984 0 comments
It says something for the state of technology that, after a quarter of a century, there still is no authoritative explanation for why so many high-end audiophiles prefer tubes. Tubes not only refuse to die, they seem to be Coming back. The number of US and British firms making high-end tube equipment is growing steadily, and an increasing number of comparatively low-priced units are becoming available. There is a large market in renovated or used tube equipment—I must confess to owning a converted McIntosh MR-71 tuner—and there are even some indications that tube manufacturers are improving their reliability, although getting good tubes remains a problem.
J. Gordon Holt Posted: Aug 30, 2009 Published: Nov 30, 1985 0 comments
Many audiophiles who have only recently subscribed to Stereophile will be surprised to find that those clunky, heat-producing, short-lived tubes that reigned up through the mid-'60s are still Executive Monarchs in the mid-'80s. Why, for Heaven's sake? Because, despite everything, people like them.
J. Gordon Holt Posted: Jul 02, 2008 Published: Nov 02, 1988 0 comments
Whenever an audio high-ender thinks about tubes, he usually thinks about Audio Research. This is only natural, because Audio Research Corporation was almost single-handedly responsible for saving tubes from oblivion in the early '70s when everyone else switched to solid-state. But ARC was soon joined in its heroic endeavor by an upstart company called Conrad-Johnson, which entered the fray in 1977 with its PV-1 preamp, priced at an affordable (even then) $500.
J. Gordon Holt Various Posted: Mar 02, 2010 Published: Feb 02, 1988 0 comments
Now that Sony has bought CBS's records division, and the infamous Copycode bill seems to be dying in Congress, the way may be clearing at last for the US introduction of the new Digital Audio Tape system. This has sparked renewed speculation in the industry about the impact DAT will have on existing formats, particularly the fledgling CD. Some are convinced DAT will kill CD, because of its ability to record as well as play digital recordings. Others believe DAT won't even gain a foothold in the market, for the same reason quadraphonic sound laid an egg back in the '70s: The public can't handle more than one "standard" format. I feel that both views are wrong, and that—as is usually the case with extreme views—the truth lies in between. I believe DAT will catch on in the marketplace, but never in a big way, and certainly not the way CD has. Here's why.
J. Gordon Holt Alvin Gold Posted: Mar 02, 2010 Published: Aug 02, 1987 0 comments
How can you tell when a politician is lying? His lips move. How can you tell when a recording system is perfect? CBS tries to outlaw it.
J. Gordon Holt Posted: Nov 19, 2014 Published: Jun 01, 1981 29 comments
To audiophiles who are aware that their household line voltage changes under varying loads, and have observed the absolutely fantastic differences in the sound of their system when the next-door neighbor turns on Junior's night light, it may come as a surprise to learn that there are folks out there who think you're full of crap. That's right, Virginia, they don't think you can really hear all those things you pretend to hear. (You are only pretending, aren't you?) They can't hear all those things, so how can you? Well, sometimes they can. They'll even admit that. But those tiny little differences are so trivial that they don't matter no more than a fruitfly's fart. That's the word in scientific circles these days. Or haven't you been following the "establishment" audio press lately?
J. Gordon Holt Posted: Mar 03, 2008 Published: Jan 03, 1977 0 comments
The Dalhquist DQ-10 loudspeaker has not as yet been formally submitted for review. (The designer tells us he is still working on the low end.) We auditioned a pair at the one local dealer we could find who had the DQ-10s on demo, and were immensely impressed. Obviously, Jon Dahlquist is on to something that other speaker designers have been overlooking, for, despite the multiplicity of driver speakers in the system, the DQ-10 sounds like one big speaker. There is no awareness of crossovers or separate drivers (except at the low end, about which more subsequently), and the overall sound has a degree of focus and coherence that is surpassed only by the Quad full-range electrostatic, which don't go as low at the bottom or as far out at the top.
J. Gordon Holt Posted: Oct 22, 2012 Published: Jul 01, 1988 0 comments
Although most audio perfectionists look down with scorn on equalizers, there are times when the benefits of such devices can outweigh their disadvantages. I discussed the pros and cons in my review of the Accuphase G-18 in Vol.11 No.4, but a brief recap here won't be amiss.
J. Gordon Holt Posted: Nov 04, 2007 Published: Aug 01, 1982 0 comments
Many audiophiles will look back on the summer of 1982 as the year the creeping cruds invaded their hallowed halls of hi-fi. In the Conrad Hilton hotel, where most of the high-end contingent gathered at the June 1982 Consumer Electronics Show, one exhibitor was featuring a videodisc presentation with wide-range audio and insisting that this was the way of the future. And at least three others had managed to smuggle in digital tape recorders (all Sony PCM-F1s), and were giving many CES visitors their first taste of real, unadulterated, digital reproduction.

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