As We See It

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Wes Phillips Posted: Oct 31, 2007 Published: Oct 01, 1996 0 comments
As Stereophile's Equipment Reports Editor, I get a lot of calls from readers asking how we choose the gear we review, and from manufacturers asking how to get their products reviewed. So I told JA to take the month off from writing this column so that I could talk about Stereophile's Equipment Reports section.
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John Atkinson Posted: Nov 03, 2007 Published: Sep 03, 1996 0 comments
In recent months, Stereophile's "Letters" column has been filled with complaints about the equipment we choose to review. "Too rich for my pocketbook" is the universal sentiment. This puzzles me, considering that Stereophile does review many "affordable" components. In part, I think this reaction is due to the high profile invariably associated with very expensive gear. Although we did put both speakers on our cover, one review of a Wilson Grand SLAMM or a JMlab Grand Utopia seems to outweigh 10 reviews of more realistically priced products. Our writers love to cover the cutting edge of audio—witness Martin Colloms's report from HI-FI '96 in this issue—because progress is more easily made when a designer is freed from budget constraints. But without the Grand SLAMM or Utopia, would Wilson have been able to produce the $9000/pair WITT, or JMlab the $900/pair Micron Carat, to name two high-value, high-performance designs recently reviewed in the magazine?
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Robert Harley Posted: Nov 14, 2007 Published: Aug 01, 1996 0 comments
The announcement in October 1995 of the Digital Versatile Disc (DVD) set the hearts of audiophiles and music lovers pounding. Although primarily a digital video and computer-data storage format, DVD's massive capacity could be applied to a "super CD" audio-only disc. Finally we would be liberated from the musical limitations of the CD's 16-bit word length, 44.1kHz sampling rate, and two-channel format. We were tantalized by reports of 96kHz sampling rate, 24-bit word length, and multichannel playback. Digital redemption appeared to be just around the corner.
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John Atkinson Posted: Nov 14, 2007 Published: Jul 01, 1996 0 comments
"Words are pegs to hang ideas on."—Henry Ward Beecher
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John Atkinson Posted: Nov 14, 2007 Published: Jun 01, 1996 0 comments
"Rave on down through the corridors,
"Rave on words on printed page!"
—Van Morrison, "Rave On John Donne"
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John Atkinson Posted: May 09, 1997 Published: May 09, 1996 0 comments
"Everyone I know used to sit in front of the stereo and listen to music...Now no one I know, except for us lunatics, listens to music the way one would watch a movie on TV."—from The Audiophile Network
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John Atkinson Posted: Apr 24, 1996 0 comments
"There are two kinds of fools: One says, 'This is old and therefore good.' The other says, 'This is new and therefore better.'"Bob Katz
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John Atkinson Posted: Mar 24, 1996 0 comments
"A newspaper can flout an advertiser...but if it alienates the buying public, it loses the one indispensable asset of its existence."—Walter Lippman, 1922, reprinted in Public Opinion, New York: Free Press, 1965.
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John Atkinson Posted: Feb 29, 1996 0 comments
When J. Gordon Holt founded Stereophile in 1962, it was very much the outsider. Compared with the mass-market magazine of which he had been Technical Editor, High Fidelity, Gordon's Stereophile was the very model of an "underground" publication, with a publication schedule as irregular as its production values were inconsistent. Its writing was from the heart, however.
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John Atkinson Posted: Jan 04, 2005 Published: Jan 05, 1996 0 comments
Watching the Beatles Anthology TV shows last Thanksgiving, I was struck by how good recorded sound quality was in the early to mid-1960s and how bad it had become by the era of Let It Be. Early Beatles recordings may have been primitive in terms of production, but their basic sound quality was excellent, with extended response at the frequency extremes and a natural, clean-sounding midrange. Late Beatles recordings lacked highs and dynamic range, and sounded grainy by comparison. This was partly because, by 1969–70, studios had replaced their simple tubed mixing consoles with the first generation of solid-state desks, and their old tubed two-track Studers and Ampexes with solid-state multitrack recorders. These featured track widths so narrow that only the massive use of Dolby-A noise reduction made it possible to produce recordings that had any dynamic range at all!
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John Atkinson Posted: Dec 05, 2004 Published: Dec 05, 1995 0 comments
As you can read in this month's "Industry Update" (pp.35 & 37), the two conglomerates who hitherto seemed driven to offer the world two competing standards for the forthcoming Digital Video Disc came to their senses. Instead of consumers being offered Toshiba/Warner/Matsushita's SD and Sony/Philips's MCD, there will be just one high-density 4.75" disc to take both video and audio data storage into the 21st century.
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John Atkinson Posted: Nov 24, 1995 0 comments
As someone who started out as a classically trained musician but who then stepped sideways into rock, I'm fascinated by the one music I've never played: jazz. It seems to me that the essential difference between a performance of a classical work and a jazz performance is that in the former, the musicians use their technique to breathe life into dead notes on a page, while in good jazz, the performer not only applies a similar level of technical expertise, but also has simultaneously to have all of music theory at the fingertips in order to decide what the next note should be. It is a rare musician---Keith Jarrett, for example---who can excel in both arenas.
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John Atkinson Posted: Nov 23, 2007 Published: Oct 01, 1995 0 comments
"All great editors are men able to see how stories, episodes, and personalities flow and merge one into the other to reproduce the pattern of a world that only their own inner eye perceives.—Henry Robinson Luce, Founder, Time and Life magazines
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John Atkinson Posted: Nov 29, 2004 Published: Sep 27, 1995 0 comments
"The idea that intellectual property in a Net-based economy can lose its value horrifies most owners and creators. They'd better get over it."—Esther Dyson, "Intellectual Value" Wired, July 1995, p.136
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John Atkinson Posted: Nov 28, 2007 Published: Aug 01, 1995 0 comments
In common with the mood of our times, there seems to be an increasing amount of bad temper in the High End. There are more people around who, in Jonathan Scull's timeless phrase, have a "level of audiophile rage very close to the surface." Witness, for example, the "cancel my subscription" letter from Professor Daniel H. Wiegand in this issue: he obviously feels a line has been crossed.

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