As We See It

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John Atkinson Posted: Dec 05, 2007 Published: Aug 05, 1994 0 comments
I was once in a sushi bar in Osaka; sitting next to me was a live abalone, stoically awaiting its fate. It stuck its siphon out of its shell, the waiter tapped the tip with a spoon, the siphon withdrew. Again the siphon appeared, again the waiter tapped it with a spoon, again it withdrew.
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John Atkinson Posted: Jul 07, 1994 0 comments
In this space last January, I enthused about the sound of linear 20-bit digital recordings which, I felt, preserve the quality of a live microphone feed. "I have heard the future of audio—and it's digital!" I proclaimed, which led at least a couple of readers to assume I had gone deaf. Putting to one side the question of my hearing acuity, 20-bit technology has been rapidly adopted in the professional world as the standard for mastering. The remaining debate concerns how to best preserve what those 20 bits offer once they've been squeezed down to the 16 that CD can store. Sony's Super Bit Mapping algorithm and Harmonia Mundi Acustica's redithering device have been joined by new black boxes from Apogee Electronics, Lexicon, and Meridian; it appears likely that, in next to no time at all, all CD releases will be offering close to 20-bit resolution—at least in the upper midrange, where the ear is most sensitive.
John Atkinson Posted: Dec 10, 2007 Published: Jun 01, 1994 0 comments
Have you noticed how developed the art of the high-end put-down has become?
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John Atkinson Posted: May 12, 1997 Published: May 12, 1994 0 comments
In last month's "As We See It," I examined how I decide upon ratings in Stereophile's biannual "Recommended Components" listing. This leads me to talk about who writes our equipment reports. Stereophile currently has a team of 16 active reviewers. The core are professional: J. Gordon Holt, Robert Harley, Thomas J. Norton, Corey Greenberg, and Martin Colloms. The others—Sam Tellig, Jack English, Robert Deutsch, Don Scott, Jonathan Scull, Larry Greenhill, Dick Olsher, Guy Lemcoe, Lewis Lipnick, and Steven Stone—may be enthusiastic amateurs, but they are amateurs only in the sense that they don't earn their livings from writing. I'm the team's catcher, both calling the game and keeping the stray balls from getting away. Why, then, is it this cast of characters (footnote 1) who gets to cast judgments in stone in my magazine?
John Atkinson Posted: Dec 10, 2007 Published: Apr 01, 1994 0 comments
The very first "Recommended Components" listing appeared in Vol.1 No.5; this is the 16th time I've put the listing together since I took over the task from J. Gordon Holt in the November 1986 'phile. No other Stereophile feature seems to be as popular, or as misunderstood. While it might inform, it never fails to offend, particularly when it involves the dropping, or—horrors!—the not listing at all, of components that the magazine's readers own.
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John Atkinson Posted: Mar 31, 1994 0 comments
Stereophile Consulting technical editor Robert Harley and I were walking down Brooklyn's Flatbush Avenue trying to remember where we'd parked our rental car. We were in town for the Fall 1993 Audio Engineering Society Convention, and had just had dinner with record reviewer Beth Jacques.
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John Atkinson Posted: Dec 10, 2007 Published: Feb 01, 1994 0 comments
When I browse through early issues of this magazine, I envy J. Gordon Holt. When he founded Stereophile in 1962, there were aspects of society that stood as solid as the Rockies overlooking his current Colorado home. Back then a magazine was a thing forever; the main means of serious communication would always be the written word; records would always be LPs...recorded in stereo; the US had a large, prosperous consumer electronics industry; computers were huge mainframes made in the USA by IBM (of course), and required air-conditioned rooms and armies of white-coated attendants; everyone watched three broadcast television networks; once a film left the neighborhood cinema, it was gone forever—or at least until it appeared on the "Late, Late, Late Show." And most importantly, people took for granted that progress in sound reproduction meant improvements in quality.
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John Atkinson Posted: Jan 07, 1994 0 comments
Two recent listening experiences of mine echoed the overblown praise Jon Landau lavished upon Bruce Springsteen after he heard The Wild, the Innocent & the E-Street Shuffle. But all hype aside, Landau was right: Springsteen was the future of rock'n'roll—or at least what passed for the future of traditional rock in those pre-MTV, pre-techno, pre-house, pre-gangsta, pre-rap, pre-hip-hop, pre-grunge, pre-Mariah Carey, pre-Garth Brooks, pre-sampling, pre-digital days. And I believe that, Landau-like, I too will be right. I have heard the future of audio, and it is digital—digital technology has finally surpassed the sound quality of analog.
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Larry Archibald Posted: Nov 30, 1993 0 comments
By the time you read this, I will have been fortunate enough to have attended a banquet put on by Harry Pearson in celebration of The Abso!ute Sound's 20th anniversary. Stereophile and TAS may have had their disagreements from time to time, but I take this opportunity to congratulate Harry and his staff on 20 years of excellent high-end publishing. I believe it's not excessively immodest to report that high-end manufacturers frequently remind me of their gratitude for the healthy and vibrant high-end publishing community which exists in the United States—and does not in most other countries. Many publications make up this community, but Stereophile and TAS are certainly the most widely read.
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Michael Zeugin Posted: Oct 21, 2008 Published: Nov 22, 1993 0 comments
Toward the end of the 1992 Summer CES in Chicago, J. Gordon Holt ambled into Audio Influx's demonstration room. He was curious about which PDQ Bach CD we were playing, as a fitting end to the show. We chatted about PDQ Bach live concerts and the grand-spoof entrances made by Professor Peter Schickele. Suddenly he said, "You know, these speakers sound real," going on to mention that he hadn't heard many real-sounding systems. I told JGH that most of what I heard at shows and in dealer showrooms nowadays was surrealistic sound.
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Robert Harley Posted: Nov 05, 2004 Published: Oct 01, 1993 0 comments
I've watched from the sidelines with great interest the recent debate in this column over Home Theater (footnote 1) At one extreme is the suggestion that Stereophile begin reviewing video and Home Theater products. The other end of the spectrum was best expressed by John Atkinson at Stereophile's 1993 High-End Hi-Fi Show in San Francisco. Hearing the booming bass overflow of a Home Theater demonstration blasting down a hallway, he said, "They've brought televisions to our hi-fi show!"
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John Atkinson Posted: Sep 19, 1997 Published: Sep 19, 1993 0 comments
"To be an influence in any society...one can be a little different, but only a little; a little above one's neighbours, but not too much."---C.P. Snow, The Masters, 1951
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Ken Gould Posted: Feb 24, 2009 Published: Aug 24, 1993 0 comments
A hot topic for discussion in recent issues of Stereophile has been the impact Home Theater has had on the High End. Some of the magazine's contributors—J. Gordon Holt and Corey Greenberg, for example—have written that the advent of Home Theater means that we should expand the audio context of the magazine to include reviews of video components (footnote 1). Others, including Bob Harley, Tom Norton, and myself, feel that we should stick to what we know and love—audio—and enter the new field only to advise Stereophile's readers on how to achieve the best sound from a Home Theater system. However, missing from the debate in our pages so far have been any comments from those in the business of selling and demonstrating high-end products and, increasingly, Home Theater systems. Accordingly, this month I am running a guest editorial from a man who perhaps typifies the high-end, specialist retailer: Ken Gould of Audio Nexus (footnote 2). Please note that Mr. Gould's opinions are his own and do not represent those of the magazine.John Atkinson
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Peter W. Mitchell Posted: Jul 29, 1997 Published: Jul 29, 1993 1 comments
What is the angular separation of your loudspeakers as viewed from your favorite chair? Whatever your answer, it's wrong. Of course I don't mean that it's a factually incorrect answer, just that any single value of subtended angle cannot be ideal for all recordings.
J. Gordon Holt Posted: May 08, 2005 Published: Jun 08, 1993 0 comments
A couple of months back (March 1993, p.7), I wrote that as far as I was concerned, video was television dressed up in fancy dress, thus there was no place for coverage of the medium in Stereophile. As the magazine's founder, J. Gordon Holt, has been a committed videophile for many years, I sat back and awaited a reaction from him. One was not long coming. I am running his response as this month's "As We See It" feature.—John Atkinson

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