J. Gordon Holt

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J. Gordon Holt Posted: Mar 05, 2006 Published: Jun 05, 1975 0 comments
Editor's Note: Although this product has been available for several years, it is being reviewed in considerable detail because it is a strong contender for the title of "Best Available Loudspeaker System, Regardless of Cost," and because we plan to review some of the other contenders for the same title within the next few issues. We feel that since all of these systems represent a considerable outlay of money, prospective buyers should have a thorough understanding of the merits and demerits of each system, so they will know what to expect from them in the way of performyince capabilities and operational requirements.
J. Gordon Holt Posted: Feb 03, 2007 Published: Sep 03, 1987 0 comments
Klyne Audio Arts has an almost Zen-like approach to the design of its products. Like the best Japanese designs, Klyne's preamps are aesthetically pleasing in appearance, do exactly what they're supposed to, and their controls are not only where you would expect them to be, but have an almost sensually smooth action. Internal construction, too, is a work of art—the kind of design which, transferred to a tapestry, would grace the wall of any listening room. You have to see the insides of a Klyne preamp to appreciate how attractive-looking an audio component can be. But physical beauty is only one aspect of Stan Klyne's designs; of all the electronics manufacturers I know of, Klyne Audio Arts also makes products more adjustable than any others, so as to appeal to the needs of what I call compulsive tweaks.
J. Gordon Holt Posted: Jul 19, 2010 Published: May 19, 1985 0 comments
Klyne Audio Arts is such a low-profile outfit that I marvel at its continued existence. It is reliably absent from the Audio and Stereo Review annual equipment directories, and if Stan Klyne has ever run an advertisement for any of his products anywhere, I haven't seen it, Yet Klyne Audio Arts always manages to have an exhibit at CES, where they display some of the most beautiful preamps and head-amps we see there, only to go underground again for another six months.
J. Gordon Holt Posted: Apr 10, 2014 Published: Dec 01, 1985 5 comments
Those of our readers who are still anti-CD are going to be offended by what I am about to say. Partly because they do not want it to be true, but mainly because it is. I shall utter the heresy anyway: the Compact Disc is, right now, doing more for the cause of high-end audio than anything that has ever come along before!

There, I've said it. Now I shall explain it.

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!
Steve Guttenberg J. Gordon Holt Posted: Jan 03, 1996 0 comments
"Without content, television is nothing more than lights in a box."
---Edward R. Murrow.
J. Gordon Holt Posted: Jan 09, 2006 Published: Jun 09, 1975 0 comments
The Magnep1anar Tympani I that is the subject of this report is already an obsolete model, having been superseded by the Tympanis IA, II, and III that were unveiled at the CE Show in Chicago this past June. Since many of our readers already own Tympani Is, and dealer stocks of them are being sold at a substantial price reduction, the report should still be of interest. We will publish follow-up reports on the newer models as soon as they become available for testing.
J. Gordon Holt Posted: Sep 17, 2014 Published: Jan 01, 1984 10 comments
We wrote a long, rather unkind report on the HQD, pointing out that, if that was typical of the way it was supposed to sound (And why not, after Mr. Levinson had installed and tweaked it?), then it had to be the most expensive bomb ever to be made available for civilian use. Mr. Levinson responded with a phone call during which he:

1) Told us we had not heard it at its best, but refused to address himself to our specific criticisms;

2) Claimed that many practicing professional musicians felt the HQD to be "extremely realistic";

3) Informed us that, since he sold very few HQD systems and would soon be discontinuing them anyway because Quad had ceased making those speakers, the "sensible" thing to do would be to kill the report; and

4) Mentioned, just in passing of course, that he was currently writing a feature article for Time on the subject of "underground" audio magazines.

J. Gordon Holt Posted: Jul 06, 2009 Published: Aug 06, 1986 0 comments
Before launching into Stereophile's first-ever report on a Mark Levinson product, an important point needs to be clarified. Although Mark Levinson products were originally made by Mark Levinson, they are no longer. Au contraire, Mark Levinson products are now being made by Madrigal, Ltd., which bought Mark Levinson Audio Systems' assets and trademark two years ago. Mark Levinson's products, as distinguished from Mark Levinson products, are now being manufactured by a company called Cello. But the subject of this report, the Mark Levinson ML-7A preamplifier, is a product of Madrigal, Ltd., not of Cello. Now that I've made that all perfectly clear, we may proceed.
J. Gordon Holt Posted: Sep 10, 2005 Published: Mar 10, 1984 0 comments
Most Stereophile readers are aware by now of why the full-range electrostatic should, in theory, be the ideal transducer. (If you aren't aware, see the accompanying sidebar.) Acoustat was the first manufacturer to design a full-range electrostatic that was so indestructible it came with a lifetime warranty. (MartinLogan is now offering a three-year warranty on their speakers, and is considering going to a lifetime warranty). But Acoustat was never able to solve another problem that has plagued all flat-panel speakers: treble beaming.
J. Gordon Holt Posted: May 07, 2010 Published: Sep 07, 1982 0 comments
Now that audio technology seems to be on the verge of being able to do anything asked of it, it seems only fitting to wonder about what we should be asking it to do. We probably all agree that high fidelity should yield a felicitous reproduction of music, but felicitous to what? Should a system give an accurate replica of what is on the disc, or of the original musical sounds?
J. Gordon Holt Various Posted: Sep 04, 2005 Published: Feb 04, 1985 0 comments
Well, it was inevitable. Prior to the MCD, every CD player had been a product of a major Japanese or European manufacturer, and we all know what kind of audio electronics "major" manufacturers usually design: adequate, but rarely much better. The MCD is the first player from a small, perfectionist-oriented firm, and an English one at that (Boothroyd-Stuart).
J. Gordon Holt Posted: May 13, 2015 Published: Mar 01, 1986 0 comments
Meridian's MCD CD player was perhaps the first audiophile-quality player to be introduced in the high-end market. I met with Bob Stuart of Meridian at the Winter Consumer Electronics Show in Las Vegas, in January, 1986 (footnote 1). My first question was about the name of the company he runs with industrial designer Alan Boothroyd:

J. Gordon Holt: Meridian in England is called Boothroyd Stuart, right?

Bob Stuart: Yes, the company is called Boothroyd Stuart, Limited, and the trademark is Meridian.

J. Gordon Holt Posted: Feb 25, 2006 Published: Aug 25, 1988 0 comments
For a subjective equipment reviewer, whose writings are based as much on impressions as on observations, it is very important to approach a product without personal bias. Of course, all of us lay claim to this ideal, and some of us even manage to maintain the appearance of impartiality most of the time. But just under the reviewer's veneer of urbane professionalism and deliberative restraint lies a darker force—a leering hobgoblin of anarchy and mischief which scoops usually forbidden adjectives from a well of calumny and offers them for the writer's consideration as the perfect word to describe what he is trying to express. It's an ever-present temptation to accept the suggestion, because every critic harbors a secret urge to be another Dorothy Parker, trashing mankind's most earnest endeavors with devastating bon mots that will endure long after the writer has ceased to. Most of the time, the reviewer is able to resist the temptation to broadside a product, but some products, and the people they represent, make this very difficult. In fact, sometimes it is impossible.
J. Gordon Holt Posted: Sep 14, 2012 Published: Apr 01, 1988 0 comments
I was so impressed by the Nelson-Reed 8-04/B loudspeaker's low-end range that I seriously doubted the add-on subwoofers could add enough of significance to be cost-effective.

I was wrong.

Two of the subwoofers were provided, along with the necessary electronic crossover unit. Each 1204 unit contains four 12" woofers in a very solid sealed enclosure, with two facing to the front and two facing the rear. The electronic crossover has three controls, besides the AC power switch: a hardwire (footnote 1) bypass switch, a stereo/mono switch, and a subwoofer level control. In the stereo mode, the low frequencies are kept separate, left from right; in mono mode, they are blended together for feeding to a single subwoofer. I will not resurrect the question of whether or not it is important to maintain stereo separation into the LF range, except to echo N-R's observation that there is no LF separation on analog discs to begin with; the lows are mixed together, to limit vertical excursions of the cutting stylus that could cause it to rise above the disc surface or, worse, dig into the aluminum base of the master disc.


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