Interviews

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Stereophile Staff Posted: Dec 18, 1997 Published: Dec 18, 1991 0 comments
Every summer, I invite a representative sample of Stereophile's equipment reviewers to the magazine's Santa Fe HQ. For the third successive year, I decided to tape some of the free-for-all discussion that takes place and offer readers the opportunity of peeking over the participants' shoulders by publishing a tidied-up version of the transcript.
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Thomas J. Norton Posted: Jan 04, 2008 Published: Nov 04, 1991 0 comments
As one of the founders of Threshold Corporation, its present chairman, and its longtime technical head, Nelson Pass has had a hand in the design and implementation of the products to come out of that company since its inception. His SA-1 power amplifier and FET 10 preamplifier have been long-term favorites of Stereophile founder J. Gordon Holt and I reviewed the Threshold SA-12/e power amplifier a year ago (Vol.13 No.12). I cornered him on a visit to Santa Fe...
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Robert Harley Posted: May 29, 2009 Published: Jun 01, 1991 0 comments
As founder of California-based Vacuum Tube Logic of America, David Manley is at the forefront of the current renaissance in vacuum-tube audio equipment. In addition to manufacturing some highly regarded audiophile components, VTL has introduced a line of tubed professional equipment that is finding its way into recording studios. David has a lifetime of experience in tube electronics, recording studio design, disc cutting, music recording, and most recently, analog/digital and digital/analog converter design.
Stereophile Staff Posted: Feb 10, 1997 Published: Feb 10, 1991 1 comments
One Saturday afternoon in August 1990, a number of Stereophile's writers—John Atkinson, Arnis Balgalvis, Robert Deutsch, Larry Greenhill, Robert Harley, J. Gordon Holt, Richard Lehnert, Guy Lemcoe, Lewis Lipnick, Peter Mitchell, Tom Norton, Dick Olsher, Don Scott, and Bill Sommerwerck—gathered together in the magazine's Santa Fe, NM listening room to discuss the "Recommended Components" listing that was due to appear in the October 1990 issue. To add a little Tabasco to the proceedings, JA had invited AudioQuest's main man Bill Low (above) to give a short talk on whatever subject was uppermost in his mind that weekend, to be followed by an open discussion.
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Robert Harley Posted: Jan 29, 1991 0 comments
Dr. Richard Cabot is one of today's foremost authorities on audio measurement and testing. Formerly an instrumentation designer at Tektronix, Dr. Cabot is now Vice President and Principle Engineer at Audio Precision. The company's System One, a computerized audio test set (used by Stereophile), has revolutionized the way the world measures audio equipment.
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John Atkinson Posted: May 02, 2004 Published: Sep 01, 1990 0 comments
Meeting Englishman Tim de Paravicini for the first time, you start to wonder if your mind has slipped a gear, whether premature brain fade has cut in. The conversation seems not only to be racing by unexpectedly quickly, but also subjects you hadn't even realized were subjects are being examined in knowledgeable depth. It was at the end of the 1970s that I bumped into Tim at a trade show in the UK; having wanted to ask his opinion of tube-amp design, knowing that the gangling, wispy-bearded, Nigeria-born, one-time resident of South Africa and Japan, ex-Lux engineer (footnote 1) had cast a magic wand over the Michaelson & Austin product line, I found myself instead being treated to an exposition of color phosphor problems in TV monitors. For Tim is a true polymath, his mind seemingly capable of running at high speed along several sets of tracks simultaneously.
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John Atkinson Posted: Jun 17, 2007 Published: Jun 17, 1990 0 comments
The French have a phrase for it: plus ça change, plus la même chose, which can be roughly translated as "the more things change, the more they stay the same." I was reminded of this when recently reading through the December 1980 issue of The Absolute Sound. There on p.368 was the statement that "Dave Wilson (Virgo) has joined the staff...to construct a testing program that will allow us to determine if some of the peculiarities and anomalies we hear in evaluating equipment can indeed be numerically measured."
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Thomas J. Norton Posted: Oct 07, 2007 Published: Mar 07, 1990 0 comments
Since he joined Snell Acoustics in the mid-1980s, Kevin Voecks, their chief designer (footnote 1), has been involved in the design or redesign of the entire Snell line, from the minor revision of the Type A/III (incorporation of a new tweeter), to the complete redesign of the Type C (now the CIII). Snell Acoustics is located in Massachusetts, and although Kevin spends a good deal of time there or at the measurement and analysis facilities of the Canadian National Research Council (NRC) in Ottawa, he does a great deal of his conceptual and preliminary design work, as well as his listening, in Los Angeles, where he makes his home. I visited him there last summer to gather a little insight into his background and loudspeaker design philosophy. I started by asking Kevin when had he first become interested in loudspeaker design...
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John Atkinson Posted: Feb 07, 2010 Published: Feb 07, 1990 0 comments
Although it was Thomas Edison who set the tone for technological development in the 20th century, with his intellectual sweatshop in New Jersey, it is the lone inventor who has always had a special place in the heart of the American public. Since the days of Samuel Colt, Eli Whitney, and Nikola Tesla, fortune and fame have awaited the genius tinkerer who emerges from his back yard with a better mousetrap, cotton gin, etc., etc.
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John Atkinson Posted: Jul 01, 2007 Published: Dec 01, 1989 0 comments
They say that time flies on faster wings once you pass 40, something that I have found to be more true than I care to think about. Yet even considering the unfortunately subjective nature of time, it hardly seems possible that it was 10 years ago, in those golden days of the first Conrad-Johnson preamplifier, Infinity RS4.5 and Hill Plasmatronic loudspeakers, Infinity class-A and Audio Research D110B power amplifiers, that a small San Francisco company, led by a drummer and mechanical engineer who had previously worked on laser-fusion target design at Lawrence Livermore Laboratory, virtually invented the high-end cable industry. I say "virtually," because Jean Hiraga in France, Robert Fulton in the US, and Saboru Egawa in Japan had laid down considerable experimental work in the mid-'70s showing that interconnects and speaker cables were hardly the passive devices conventional engineering considered them, and the highly capacitative Cobra Cable, distributed in the US by Polk and in the UK by Monitor Audio, was already destroying marginally stable power amplifiers in 1977.
Stereophile Staff Posted: Nov 04, 1997 Published: Nov 04, 1989 0 comments
Twice a year, Stereophile brings some of its writers out to Santa Fe, New Mexico, to discuss the compilation of the magazine's "Recommended Components" listing, the most recent of which appeared in the October issue. Following a comment from Will Hammond, John Atkinson's collaborator on the recent amplifier blind listening tests, that the magazine's readers would love to eavesdrop on the conversations that take place on these occasions, it seemed a good idea to tape (footnote 1) some of the discussions and publish the transcript as this month's "As We See It" (footnote 2). Accordingly, Lewis Lipnick, Gary A. Galo, Robert Harley, Thomas J. Norton, Guy Lemcoe, Richard Lehnert, Dick Olsher, Peter Mitchell, Robert Deutsch, J. Gordon Holt, Larry Greenhill, John Atkinson, and Arnis Balgalvis all gathered in LA's palatial listening room one August Saturday. JA set the ball rolling by asking the assembled writers where they thought Stereophile had been, where it was, and where they thought it should be going, particularly in view of Robert Harley joining the magazine as Technical Editor.
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Robert Harley Posted: Aug 10, 2009 Published: Oct 10, 1989 0 comments
Doug Sax is undoubtedly one of the most controversial and outspoken figures in audio. As co-founder, with Lincoln Mayorga, of Sheffield Lab, Doug pioneered the first modern direct-to-disc recording. His perfectionist methods may be controversial, but the results certainly are not: Sheffield Lab recordings are nearly universally praised by the audiophile community, while the Billboard Hot 100 always features at least one Sax-cut disc.
Posted: Sep 03, 1989 0 comments
Why had a high-end hi-fi magazine felt the need to produce a classical LP when the thrust of real record companies in 1989 is almost exclusively toward CD and cassette? Why did the magazine's editors think they had a better chance than most experienced professional engineers in making a record with audiophile sound quality? Were they guilty of hubris in thinking that the many years between them spent practicing the profession of critic would qualify them as record producers?
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John Atkinson Posted: Jun 01, 2010 Published: Jun 01, 1989 0 comments
As fascinating as the design of high-end hardware can be, it goes without question that without musical software (or firmware, as our more computer-minded readers would have it) of an appropriately high standard, the whole business would be pointless. Stereophile's interviews have therefore often featured engineers and producers whose recorded work reveals sound quality to be a major concern. I interviewed Performance Recordings' James Boyk back in Vol.9 No.6; J. Gordon Holt spoke in Vol.10 No.3 with Doug Sax and Lincoln Mayorga, of Sheffield Lab, and with Keith Johnson of Reference Recordings, about their history-making Moscow sessions; JGH also discussed Brad Miller's and Lou Dorren's Colossus digital project in Vol.10 No.1 and Vol.11 No.4; while last month Dick Olsher interviewed Peter McGrath, responsible for some superb-sounding recordings for Harmonia Mundi USA as well as for his own Audiofon label.
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John Atkinson Posted: Feb 28, 1989 0 comments
One of the things that fascinates me about the field of box loudspeaker design is how few original talents there are capable of designing a model from first principles. Yes, armed with the Thiele-Small papers on bass alignment, an understanding of filter theory, and a working knowledge of the OEM drive-unit field, almost anyone can, and has, come up with one commercially and sonically successful design—given a fair degree of luck. And the teams of well-trained engineers at companies like KEF, B&W, and Celestion have shown that they can produce a steady stream of affordable boxes with a high ratio of performance for the dollar. But for an individual to create more than just one good box speaker requires a modicum of genius, and genius is thin on the ground.

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