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Art Dudley Posted: Aug 03, 2012 12 comments
This month I am writing about five vintage loudspeakers you should hear before you die.

Why vintage? Because the best vintage gear offers an abundance of musically agreeable qualities that are missing from even the best contemporary gear.

Art Dudley Posted: May 24, 2010 0 comments
Nineteen days after J. Gordon Holt died, my daughter and I drove west on NY Route 20, passing lawn sale after lawn sale on our way to the supermarket in Richfield Springs. Each sale promised a pleasant waste of time on that hot afternoon, but only one caught my eye: There, among the Avon bottles and the 8-track tape cartridges, were two large bookshelf loudspeakers, dressed in walnut veneer and light-colored fabric grilles. AR 3s, I thought. Or maybe Large Advents. "They'll still be there when we come back this way," I said, stupidly.
Anthony H. Cordesman Posted: Apr 29, 1995 Published: Jun 29, 1986 0 comments
I must confess to a certain sentimental affection for Magnepan products. An early version of the Tympani did more to rekindle my interest in audio than any other speaker I can think of. In a world which seemed doomed to finding out just how small and dull it could make acoustic suspension boxes, the Magnepans reminded me that speakers could produce a large open soundstage, real dynamics, and musical life.
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Larry Archibald Posted: Jul 05, 2009 Published: Dec 05, 1992 0 comments
Some time ago I wrote about the need for high-end audio companies to constantly reinvent themselves: You may be receiving accolades for your latest and greatest product, but you'd also better be well along the path to developing its replacement. High-end audio is a field of constant change; no product remains supreme for long.
John Atkinson Posted: Nov 25, 1995 Published: Nov 25, 1986 0 comments
The quest for a full-range electrostatic loudspeaker has occupied many engineers' minds for many years. The problems are manifold: large physical size (which can lead to room placement problems and poor dispersion), the difficulty of achieving high sound pressure levels, the need for a potentially sound-degrading step-up transformer, and the unsuitability for production-line manufacture. Even so, the potential rewards are so great that one can understand why loudspeaker designers keep on attempting the apparently impossible. Epoch-making models do appear at infrequent intervals, keeping the flame burning since the appearance of the original Quad in 1955: Acoustat, Sound Lab, and Beveridge in the US, Stax in Japan, Audiostatic in Holland, Quad, of course, in England, and now MartinLogan.
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John Atkinson Posted: Nov 24, 1990 0 comments
"Why do rhythms and melodies, which are composed of sound, resemble the feelings; while this is not the case for tastes, colors, or smells?"---Aristotle
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John Atkinson Posted: Aug 05, 1989 0 comments
"Test We Must," cried High Fidelity's erstwhile editor, Michael Riggs, in a January 1989 leader article condemning the growth of subjective testing. (See the sidebar for Peter Mitchell's obituary of HF magazine, now effectively merged with Stereo Review.) With the exception of loudspeakers, where it is still necessary to listen, he wrote, "laboratory testing (properly done) can tell us pretty much everything we need to know about the performance of a typical piece of electronics...We know what the important characteristics are, how to measure them, and how to interpret the results."
Robert Harley Posted: Aug 08, 1995 Published: Aug 08, 1985 0 comments
The $395 NAIT, rated at 20Wpc, is a good-sounding little amp. It's very open and spacious-sounding, but, like the $250 Rotel RA-820BX, sometimes sounds a little hard in the upper registers.
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Edward T. Dell, Jr. Posted: Jan 17, 1987 0 comments
Editor's Introduction: 1987 sees Stereophile celebrating its 25th anniversary of continuous—if occasionally sporadic—publication. For an ostensibly "underground" publication to have survived so long is a tribute to the skills and enthusiasm of the magazine's founder and Editor, J. Gordon Holt. I thought it fitting, therefore, to ask a contemporary of Gordon's, Ed Dell (footnote 1), himself a respected publisher and editor, to pen an appreciation of the man who defined the world of subjective reviewing.—John Atkinson
J. Gordon Holt Posted: Aug 01, 1995 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.)
J. Gordon Holt Posted: Sep 23, 1995 Published: Sep 23, 1983 0 comments
Warning to Purists: Despite certain qualities about the ESL-63 speakers which you will probably like, Quad equipment is not designed primarily for audiophiles, but for serious-music (call that "classical") listeners who play records more for musical enjoyment than for the sound. Quad's loudspeakers do not reproduce very deep bass and will not play at aurally traumatizing volume levels, and Quad's preamplifier is compromised through the addition of tone controls and filters, all for the purpose of making old, mediocre, and/or worn recordings sound as listenable as possible.
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Larry Archibald Posted: Apr 20, 2008 Published: Nov 20, 1991 0 comments
Ralph died last week (September 11, 1991), his great and faithful heart stopped in the aftermath of an affliction not too uncommon for older, larger dogs—a gastric torsion. He was approximately 12 years old.
Various Posted: May 03, 1990 0 comments
In the Fall of 1989, Stereophile magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: Poem (footnote 1). The full story was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing—the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.
J. Gordon Holt Posted: Dec 17, 2012 5 comments
[Note - this article is from the May, 1963 issue of Stereophile]

Many readers have asked why we don't maintain a permanent listing in each issue of The Stereophile of those components that we feel to be the best available, with or without qualification.

So, we are following our readers' suggestion, and will list in each issue groups of components which, at publication time, we feel are ones from which our readers would be well advised to assemble their systems. The list will change from time to time, as new products appear, old ones are obsoleted, or manufacturers change their quality control standards. Components will be added to or dropped from the list without advance notice if we see adequate reason for doing so, but each change in the list will be explained in the magazine at the time the change is made.

J. Gordon Holt Posted: Jul 11, 2013 Published: Feb 11, 1984 6 comments
BEETHOVEN: Violin Sonata in G, Op.96
ENESCU: Violin Sonata No.3, Op.25 (In Rumanian Style)

David Abel, violin, Julie Steinberg, piano
Wilson Audio W-8315 (LP). David Wilson, prod., eng. AAA.

Oh, what a breath of fresh air this is! An audiophile recording of real music that isn't bombastic, overblown, or high-powered.

Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about.

I could rhapsodize endlessly about this record, but I won't. Suffice it to say that if you think there's even a remote chance you'll like this music, you will be positively mesmerized by this recording of it . . .

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