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Robert Deutsch Posted: Nov 29, 1990 0 comments
Tweaks have acquired a bad reputation in certain sectors of the audio world, probably with some justification. Warming the cartridge to exactly the right temperature, suspending cables from the ceiling (but not with cotton string; it sounds grainy and dry), stroking CD cases with a "magic" brush, drinking "polarized" (or is it de-polarized?) water before a listening session---gimme a break!
J. Gordon Holt Posted: Jul 14, 1990 0 comments
While the LP-vs-CD debate continues unabated among high-end audiophiles, the rest of the world has already closed the book on the venerable LP. All but a few specialized classical record companies (footnote 1)(and some weird magazines) have ceased releasing new LPs, few record stores sell them any more, and consumers who wouldn't be caught dead owning something that wasn't trendy have long ago dumped their LP collections for cents on the pound.
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John Atkinson Posted: Nov 13, 2005 Published: May 13, 1990 0 comments
"The large peak at 16kHz reported by Stereophile...was nowhere in evidence...The most probable explanation of this discrepancy is that the [Waveform supertweeter's] very light ribbon depends on the air load for damping, and that load is much smaller in the thin air up there at 7000' in Santa Fe than at altitudes where less lightheaded and scientifically more accountable reviewers dwell." Thus spake Peter Aczel (footnote 1), erstwhile loudspeaker designer and Editor/Publisher of the reincarnated The Audio Critic, a publication that advertises itself as having "unusual credibility among the top professionals in audio."
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Robert Harley Posted: May 09, 2004 Published: May 01, 1990 3 comments
The promise of "perfect sound forever," successfully foisted on an unwitting public by the Compact Disc's promoters, at first seemed to put an end to the audiophile's inexorable need to tweak a playback system's front end at the point of information retrieval. Several factors contributed to the demise of tweaking during the period when CD players began replacing turntables as the primary front-end signal source. First, the binary nature (ones and zeros) of digital audio would apparently preclude variations in playback sound quality due to imperfections in the recording medium. Second, if CD's sound was indeed "perfect," how could digital tweaking improve on perfection? Finally, CD players and discs presented an enigma to audiophiles accustomed to the more easily understood concept of a stylus wiggling in a phonograph groove. These conditions created a climate in which it was assumed that nothing in the optical and mechanical systems of a CD player could affect digital playback's musicality.
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J. Gordon Holt Posted: Apr 29, 1990 0 comments
When sociologists tell us America is a highly mobile society, they don't just mean we do lot of driving. What they mean is, we do a lot of moving. The good old three-generation family homestead, immortalized in nostalgia TV and literature, is a thing of the past. According to census information, almost 20% of America's population changes its address every year. Of course, it's usually a different 20% every year, but pulling up roots and moving---to a bigger house, a better neighborhood or a nicer city, not to mention a place where your employer decides to transfer you---is almost as commonplace across the US of A as marriage, divorce, and unbridled greed.
John Atkinson Robert Harley Posted: Feb 28, 1990 0 comments
The end of two audiophiles' friendship:
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John Atkinson Posted: Apr 06, 2006 Published: Feb 06, 1990 0 comments
Wouldn't you just know it. As soon as I decide on a formal regime of measurements to accompany Stereophile's loudspeaker reviews—see Vol.12 No.10, October 1989, p.166—along comes some hot new technology that changes everything. Robert Harley reported in last month's "Industry Update" column how impressed he and I were with the new MLSSA measurement system from DRA Laboratories.
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Bob Katz Posted: Dec 09, 1989 0 comments
"My system has great imaging!" "I can hear sound coming from beyond my speakers." "The depth image in my system goes back at least 20 feet." Yes, we audiophiles are proud of our imaging (footnote 1), and we've worked hard to get it. My back is still aching from the last time I tweaked my speakers until the image was just right.
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William P. Banks Posted: Nov 26, 1989 0 comments
It is always a matter of great interest when a difficult question, in this case the audibility of differences between amplifiers, is put to an empirical test. When the question is tested by such intelligent, knowledgeable, and unbiased investigators as John Atkinson and Will Hammond (see the July issue of Stereophile, Vol.12 No.7, p.5, the interest is even greater. Unfortunately, when the test turns out to have been flawed by errors in design and in use of statistics, as was the case here, the disappointment is also even greater.
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Peter van Willenswaard John Atkinson Peter W. Mitchell Posted: Jun 28, 2016 Published: May 01, 1989 2 comments
Editor's Note: One-bit DAC chips in the 21st century, where the anlog output signal is reconstructed from a very high-rate stream of pulses, are ubiquitous. But a quarter-century ago, those chips were only just beginning to stream from the chip foundries. In this feature, we aggregate Stereophile's 1989 coverage of the then-new technology, starting with Peter van Willenswaard on the basics.—John Atkinson.

1989 may well become the year of the D/A converter (DAC). CD-player manufacturers have, almost without exception, launched research projects focusing on this problem area of digital audio; many of these projects are already a year old. This is, however, by no means the only imperfection keeping us away from the high-quality sound we have come to suspect is possible with digital audio media, and maybe not even the most important.

Dick Olsher Posted: Oct 29, 2008 Published: Jan 29, 1989 0 comments
There was a time, as recently as 40 years ago, when frequencies below 100Hz were considered extreme lows, and reproduction below 50Hz was about as common as the unicorn. From our present technological perch, it's too easy to smirk condescendingly at such primitive conditions. But just so you're able to sympathize with the plight of these disadvantaged audiophiles, I should tell you that there were two perfectly good reasons for this parlous state of affairs. First of all, program material at that time was devoid of deep bass; not because it was removed during disc mastering but simply because there wasn't any to begin with. The professional tape recorders of the day featured a frequency response of 50–15kHz, ±2dB—just about on a par with the frequency performance capability of a cheap 1988 cassette tape deck.
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Keith Yates Posted: Apr 27, 1988 0 comments
Like many Stereophile readers, I have often sped home from a concert to fire up the audio system and then, to the sore vexation of my wife and guests, spent the rest of the evening plunged in the morbid contemplation of what, exactly, was missing.
Lewis Lipnick Posted: Aug 29, 1987 0 comments
When I decided to write a piece on the subject of concert-hall acoustics, I realized that almost all discussion concerning this topic is based on the viewpoint of the listener in the audience. While this is important (since the primary purpose of any hall is to bring audience and performance together), the criteria that musicians employ in concert-hall evaluation address sonic parameters that are probably not obvious to the casual listener, and may often be at odds with conclusions reached from the other side of the footlights. Some readers might feel that any discussion of concert halls has no place in a publication such as Stereophile; they may have a point, especially if their sole aim through audio is to produce sonic spectacle, rather than to recreate an artistic event. I believe, however, that there are some readers who would like to gain some insights into the specific problems and acoustical considerations presented to performing musicians, and possibly come away with some fresh ideas to incorporate in their listening criteria.
John Atkinson J. Gordon Holt Posted: Nov 25, 1986 0 comments
The Question of Bass: J. Gordon Holt
A few issues back, in Vol.9 No.3, I used "As We See It" to clarify what Stereophile writers have in mind when they use the term "transparency" in equipment reports. This time, I'll do the same thing for the performance parameters of bass reproduction.
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John Atkinson Posted: Sep 25, 1986 1 comments
It has become accepted lore in audiophile circles that the 44.1kHz sampling rate adopted for Compact Disc is too low. Some writers have argued that, as a 20kHz sinewave will only be sampled about twice per cycle, it will not be reconstructed accurately, if at all.

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