J. Gordon Holt

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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.

J. Gordon Holt Posted: Aug 17, 2012 Published: Apr 01, 1988 0 comments
According to designer Bill Reed, the Nelson-Reed 8-04/B was not originally intended to be an audiophile speaker system, but was instead designed as a high-quality monitor for the critical recording engineer who wanted to be able to walk from the studio into the control room and hear the same thing from his speakers that he heard "live." The fact that modern studio mike technique ensures that this could never happen is probably beside the point. The point is that reproducing the original power and dynamic range of live music is a formidable challenge, which practically no audiophile speakers have met successfully. On the other hand, so-called studio monitors, which can do that routinely, have tended to be highly colored and otherwise generally lousy in all areas of fidelity except output capability. The 8-04/B was an attempt to combine the strengths of both kinds of speaker, while avoiding their usual weaknesses.
J. Gordon Holt Posted: Apr 05, 2016 Published: Sep 01, 1966 10 comments
Our mail, in recent months, has brought a number of comments (some of them printed in this issue) from professional audio men who decry the fact that developments in the audio field seem to have come to a screeching halt.

There would seem to be some justification for believing this, too. There hasn't been a new kind of loudspeaker, amplifier, pickup, or tuner for the past five years or so. The professional engineering journals, once loaded with juicy articles about research and developments in music reproduction, are now devoted largely to public-address techniques and new methods for the "creation" of electronic music.

J. Gordon Holt Posted: May 03, 2016 Published: Dec 01, 1964 4 comments
Well, the New York Hi-Fi wingding has come and gone once again, and now is the time when audio editors dutifully adopt the role of oracle, divining the future of high fidelity, and generally sketching out The Big Picture for those of us too blind to see the graffiti on the wall. So, who are we to shirk our duty? Herewith, The Stereophile's audio observations and predictions for 1965.
J. Gordon Holt Posted: Aug 17, 2012 Published: Jun 01, 1987 1 comments
"Grand Integra" is the name Onkyo has given to its line of perfectionist-oriented audio products, and the M-508 is the cheaper of Onkyo's two Grand Integra power amplifiers. (The flagship model is the $4200 M-510, reviewed by Larry Greenhill in Vol.8 No.8, featuring "high current capability," and rated at 300W continuous per channel.)
J. Gordon Holt Posted: Jul 02, 2010 Published: May 02, 1985 0 comments
Although the idea of a $1000 moving-coil cartridge no longer shocks audiophiles, it is still not exactly what I'd call "Mainstream Hi-Fi." Audio magazine's 1984 Equipment Directory—the most complete such compendium published in the US—lists only 10 models in this price range, not counting the Kiseki Lapis Lazuli at a whopping three-and-a-half grand! I have not tested most of these, nor have I tried any of the current models from the Japanese Koetsu firm, which was first with the gall to put a $1000 price tag on a cartridge. But I have tested a couple of one-granders during the past few years, and was sufficiently unimpressed to be hesitant about testing any more samples of what were beginning to look like nothing more than monumental ripoffs. So when Ortofon sent us the MC-2000, I was naturally less than enthusiastic about trying it.
J. Gordon Holt Posted: Dec 10, 2006 Published: Jan 10, 1988 0 comments
The Ortofon MC-2000 may just have been the most impractical cartridge to be unleashed upon the audio community for some years. With a high compliance (20cu) that made it ill-suited for most tonearms, it also had a preposterously low signal output of 50 microvolts, which gave new meaning to the terms hum and noise. Few MC preamps had enough gain to deliver adequate driving voltage to a system, and none of those that did had low enough noise to be usable with the 2000. If the problem wasn't hum, it was hiss; if hiss was acceptably low, there would be too much hum. At least Ortofon had the sense to be aware of the problem and to do something about it, in the form of their T-2000 step-up transformer, which is the only device I ever found that would allow the cartridge to be operated without a constant background of hum or hiss. Despite all this, I have used the MC-2000 as my reference cartridge for the last two years. Why? Because of all the cartridges I've tried, it is by far the most accurate.
J. Gordon Holt Posted: Oct 12, 2015 Published: Dec 01, 1979 4 comments
Long-time Stereophile readers May be dismayed by what appears to be our unfettered satisfaction with some of the recent crop of new components. Aren't we, after all, dedicated to the pursuit of perfection? Do we really feel that some products are all that close to it? The answer to both questions is "Yes."
J. Gordon Holt Posted: Aug 07, 2005 Published: Feb 07, 1984 0 comments
What, a high-fidelity product from Magnavox? The company that 20 years ago had a reputation for building massive, polished-console boom-boxes and was scornfully referred to in audiophile circles as "Maggotbox"? Some important things have happened to Magnavox since those days. Mainly, it became a subsidiary of the Dutch Philips company, co-developer of the laser video disc and now the audio Compact Disc. The Magnavox CD players are actually made by Philips for US distribution by Magnavox.
J. Gordon Holt Posted: Nov 05, 2014 Published: Dec 01, 1981 4 comments
Editor's Note: On the 52nd anniversary of Stereophile's founding in 1962 by J. Gordon Holt, we are publishing this mea culpa "As We See it" essay from 1981, in which he explains why Vol.4 No.10 was almost six months late in mailing to subscribers. Gordon had relocated from the Philadephia suburbs to Santa Fe, New Mexico in 1978, and as he had explained in the April 1978 issue, the move had not gone well. "Much of the equipment necessary for testing got damaged or destroyed in transit," he wrote, adding that "What had promised to be a superb listening room turned out to have some sticky acoustical idiosyncrasies."
Anthony H. Cordesman J. Gordon Holt Posted: Dec 29, 1995 Published: Dec 29, 1985 0 comments
Several issues back, I mentioned a major "new wave" of power amplifiers coming along: the Adcom 555, the New York Audio Labs transistor-tube hybrids, and the latest Krells, for example. They demonstrate that major audible improvements are still possible in something as well-explored as the power amplifier. Not only that, some of these products demonstrate that superior performance can be combined with relatively low price.
J. Gordon Holt Posted: May 24, 2012 Published: May 01, 1988 0 comments
PSB is a small, Toronto-based manufacturer that has been collaborating with Canada's National Research Council to try and take some of the guesswork, some would say magic, out of loudspeaker design.

The NRC, financed by the Canadian government, does basic research in many technological areas and makes its findings available to any firm wishing to use them. (Most other countries provide or encourage this kind of government/business cooperation. It is against the law in the US, to our great disadvantage.) The NRC's audio division, headed by physicist Dr. Floyd E. Toole, has devoted the last several years to the rather formidable task of defining, and assigning numbers to, the various aspects of loudspeaker performance that affect listeners' subjective assessments of their sound.

J. Gordon Holt Posted: Jun 11, 2015 Published: Sep 01, 1983 2 comments
The Model 34 preamplifier is the component from English manufacturer Quad that will disenchant perfectionists, partly because of its obvious pandering to connoisseurs of old and sometimes lousy-sounding records, and partly because of its sound.

This solid-state design is supplied with a built-in moving-magnet cartridge preamplifier, and a moving-coil preamp is included with it for (easy) installation by the user if desired. (Remove two screws, pull out the old module, plug in the new one and replace the screws. The job takes about 3 minutes.) The MC preamp supplied is for 20 microvolt-output cartridges—contrary to the instruction booklet's statement that the supplied one is the 100µV version. Modules having a rated input level of 100 or 400µV are available as extra-cost options.

J. Gordon Holt Sam Tellig Posted: Aug 01, 1995 Published: Aug 01, 1976 0 comments
This is something we don't see too often: an entirely new approach to power amplifier design. As Quad points out in its literature for the 405, class-A operation of transistors provides the lowest distortion, but drastically limits the amount of power an output transistor can deliver without overheating. (Most transistor amps use class-AB output operation, in which each of a pair of power transistors handles part of each signal cycle and shuts down during the other part. Imperfect synchronism between the two halves causes the familiar "crossover distortion," which accounts for most solid-state sound. In class-A operation, each output transistor draws current though the entirety of each signal cycle, eliminating the crossover transition but doubling the amount of time current is drawn, and thus tending to cause the transistor to heat up more.)

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