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J. Gordon Holt Posted: Mar 03, 2008 Published: Jan 03, 1977 0 comments
The Dalhquist DQ-10 loudspeaker has not as yet been formally submitted for review. (The designer tells us he is still working on the low end.) We auditioned a pair at the one local dealer we could find who had the DQ-10s on demo, and were immensely impressed. Obviously, Jon Dahlquist is on to something that other speaker designers have been overlooking, for, despite the multiplicity of driver speakers in the system, the DQ-10 sounds like one big speaker. There is no awareness of crossovers or separate drivers (except at the low end, about which more subsequently), and the overall sound has a degree of focus and coherence that is surpassed only by the Quad full-range electrostatic, which don't go as low at the bottom or as far out at the top.
J. Gordon Holt Posted: Jun 11, 2006 Published: Sep 11, 1976 2 comments
In the last issue we published a rather enthusiastic "Quickie" report on a small, $190/pair speaker system from a new company—the FMI Model 80. It was virtually devoid of low end, even as a stereo pair (pairing effectively doubles bass output), and slightly rough as well as a shade soft at the high end, but it had a quality of "aliveness" to it that almost defied belief. Was it a breakthrough in design? A new transducing principle? No, it was neither. In fact, the Model 80 looks like any one of those hundreds of little bookshelf systems that clutter, the pages of Stereo Review's "Hi-Fi Directory" in tedious profusion.
J. Gordon Holt Posted: May 28, 2015 Published: Aug 01, 1976 3 comments
Editor's Note: In Stereophile's second decade of publication, things were starting to unravel, with long gaps between each issue. There were just seven issues published between January 1974 and January 1978. The late Harry Pearson has gone on record that he founded The Absolute Sound in 1973 part because he was tired of waiting for the next issue of Stereophile to reach his mailbox. In this "As We See It" essay from the "Surface Noise" issue in August 1976, founder J. Gordon Holt owns up to it appearing 8 months late!
J. Gordon Holt Sam Tellig Posted: Aug 01, 1995 Published: Aug 01, 1976 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: Mar 05, 2006 Published: Jun 05, 1975 0 comments
Editor's Note: Although this product has been available for several years, it is being reviewed in considerable detail because it is a strong contender for the title of "Best Available Loudspeaker System, Regardless of Cost," and because we plan to review some of the other contenders for the same title within the next few issues. We feel that since all of these systems represent a considerable outlay of money, prospective buyers should have a thorough understanding of the merits and demerits of each system, so they will know what to expect from them in the way of performyince capabilities and operational requirements.
J. Gordon Holt Posted: Jul 08, 2015 Published: Oct 01, 1974 5 comments
Some years ago, we attended a hi-fi show in New York City where one of the exhibitors was RCA Victor. Their presence there would have been forgotten were it not for the fact that their exhibit, featuring their own discs played on their own line of phonographs, was producing some of the filthiest sound at the entire show. And that, in the proverbial nutshell, is why you never see reports in Stereophile on equipment made by RCA, Philco or General Electric.
J. Gordon Holt Posted: Dec 04, 1971 Published: Apr 01, 1973 0 comments
"As We See It" in the Stereophile issue dated Summer 1968 (actually published in 1970) noted the idealistic, glowing claims about how four-channel sound could put you right in the concert hail, but urged readers to wait before buying, to see whether quadrisound would indeed bring higher fidelity. We predicted it wouldn't—that whatever the potential of quadrisound (footnote 1), it would not be used to increase fidelity, but rather to play ring-around-the-rosy with music.
J. Gordon Holt Posted: Nov 30, 1971 Published: Oct 01, 1972 2 comments
Alicia Holt, aged 18 months, devours her father's magazine

After much searching of soul and of bank account, we have reached an earth-shattering decision. The Stereophile is going to start taking ads.

J. Gordon Holt Posted: Nov 07, 1995 Published: Nov 07, 1971 4 comments
The Bose 901 has created more of a stir in audio circles than any other loudspeaker we can think of, with the possible exception of the original Acoustic Research system. Much of the 901's popularity is attributable to Julian Hirsch's rave report in Stereo Review, and there is no doubt but that Amar Bose's compellingly convincing ads had their effect, too. But these things alone could hardly account for the 901's popularity.
J. Gordon Holt Posted: Jan 01, 1971 2 comments
After a number of years of equipment reviewing, one gets rather blasé about "compact" loudspeakers. The appearance of yet another one that looks like hundreds of others and embodies no radically new innovations to pique one's curiosity is likely to be greeted with a passionate Ho-Hum.
J. Gordon Holt Posted: Nov 25, 1996 Published: Nov 01, 1968 0 comments
An equipment reviewer for one of the consumer hi-fi magazines once confided to a manufacturer that he found it hard to like electrostatics because of the kind of people who usually like electrostatics. His implication—that certain kinds of people gravitate towards certain kinds of sound—is an interesting thought, and one that might bear some further investigation. But there is no questioning the fact that electrostatic speakers in general do have a particular kind of sound, that might be characterized as "polite."
J. Gordon Holt Posted: Dec 31, 1969 Published: Feb 01, 1968 0 comments
We're not really sure who coined the term—it is usually attributed to Alistair Cooke, former host of the "Omnibus" TV program—but "audible wallpaper" is an apt term for something that is of more than passing concern for the serious music listener.
J. Gordon Holt Posted: Apr 02, 2006 Published: May 02, 1965 0 comments
Editor's Note: Those of us who cut our engineering teeth on tubes still remember the advent of the solid-state amplifier with mixed feelings. Yes, they were lighter and cheaper per watt than the thermionic hulks we loved so much, but they broke all the time (thanks to the germanium transistor) and sounded like—well, let J. Gordon Holt tell us what they sounded like in an "As We See It" article from Vol.1 No.10, first published in May 1965. We also develop the theme with a JGH review of an early transistorized amp, as well as a selection of readers' letters from the early days of Stereophile. Enjoy.John Atkinson
J. Gordon Holt Posted: Aug 07, 2008 Published: Aug 01, 1964 0 comments
Editor's Note from 1992: This seminal J. Gordon Holt essay on how the art of recording natural sound became compromised in favor of unmusical artificiality for good commercial reasons was originally published in August 1964, in Vol.1 No.8. Though most people these days listen to classical music from CDs, not LPs, in the intervening decades, recording technology has not changed for the better as much as one might have hoped. Nevertheless, the days of wretched multimiking excess described by Gordon are past, and it's rare to find the music treated with the lack of respect typical of a mid-'60s Columbia session. Although some of the smaller companies—Reference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UK—consistently use honest, minimal miking, it is not unknown for the majors in the '90s to do likewise. And the use of time delay for spot microphones, pioneered by Denon in the mid-'80s, means that instruments that might tend to become obscured at orchestral climaxes can now be brought up in level without unnaturally time-smearing the sound. I still find it sad, however, that it is rare to hear the sheer dynamic range of a live ensemble successfully captured on a commercial recording.John Atkinson
J. Gordon Holt Posted: Dec 31, 1969 Published: Jun 01, 1963 1 comments
Editor's Introduction: In 1963, Stereophile's founder J. Gordon Holt published attacks on what he saw as the single largest step backward in high-fidelity sound reproduction at that time: RCA's introduction of "Dynagroove" LP records, where the recorded signal was pre-distorted and dynamically equalized to compensate for the poor performance of cheap phonograph players. "Issue 5...revealed most of RCA Victor's 'revolutionary' new system as nothing more than a sophisticated way of bringing higher fi to record buyers who don't care enough about hi-fi to invest in a decent playback system." Ten years later, Gordon wrote that, "As of 1974, the best we can say for Dynagroove is that there is no audible evidence of it on current RCA releases." (These articles were reprinted in June 1992, Vol.15 No,6, as part of Stereophile's 30th-anniversary celebrations.)John Atkinson


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