Robert Harley

Sort By: Post Date | Title | Publish Date
Robert Harley  |  Dec 09, 2007  |  First Published: Dec 09, 1989  |  0 comments
The acoustic environment for music reproduction is easily the most overlooked source of sonic degradation. Many fine playback systems are compromised by room-induced anomalies that severely color the reproduced sound. When we live in a world of directional wire, high-end AC power cords, and $4000 CD transports, paying attention to the listening room's contribution to the musical experience takes on greater urgency.
Robert Harley, Lonnie Brownell  |  Dec 29, 2006  |  First Published: Jan 29, 1991  |  0 comments
In some ways, building an inexpensive yet musical two-way loudspeaker is a greater design challenge than creating a cost-no-object reference product. Although the latter is a much more complex endeavor, the venerable two-way box seems to bring out the creativity and resources of the designer. Rather than throw money at the product in the form of more expensive drivers, enclosures, or components, the designer of a low-cost two-way is forced to go back to the basics, rethink closely-held tenets, and rely on ingenuity and sheer talent to squeeze the most music from a given cost. Consequently, the inexpensive two-way is the perfect vehicle for designers to develop their skills. If one has mastered this art form, one is much more likely to achieve success when more ambitious designs are attempted.
John Atkinson, Robert Harley  |  Nov 07, 2010  |  First Published: Aug 07, 1988  |  0 comments
The loudspeaker coming under the microscope this month emanates from north of the border. The Canadian loudspeaker industry has benefited enormously in the last few years from having the measurement, testing, and listening facilities of Canada's National Research Council in Ottawa made available to it on a commercial basis. Unlike the US or even the UK, where a new speaker designer has pretty much to rely on his own resources, having to invent his own test procedure as well as design the product, the Canadian equivalent can have his loudspeaker tested under standard conditions, quickly indicating whether he is on the right track or not. (He still, of course, has to rely on his own talent to get on the right track in the first place or to get back on it if it appears that something is amiss.)
John Atkinson, Robert Harley  |  Nov 07, 2010  |  First Published: Aug 07, 1988  |  0 comments
The loudspeaker coming under the microscope this month emanates from north of the border. The Canadian loudspeaker industry has benefited enormously in the last few years from having the measurement, testing, and listening facilities of Canada's National Research Council in Ottawa made available to it on a commercial basis. Unlike the US or even the UK, where a new speaker designer has pretty much to rely on his own resources, having to invent his own test procedure as well as design the product, the Canadian equivalent can have his loudspeaker tested under standard conditions, quickly indicating whether he is on the right track or not. (He still, of course, has to rely on his own talent to get on the right track in the first place or to get back on it if it appears that something is amiss.)
Robert Harley  |  Oct 04, 2011  |  First Published: Feb 01, 1990  |  1 comments
666proceedcd12.jpgThe Proceed CD player is the first digital product from Madrigal Audio Laboratories, a company known for their Mark Levinson preamplifiers and power amplifiers, including the very highly regarded No.20.5 power amplifiers. Given Madrigal's track record of producing ultra–high-end (and expensive) components, I was surprised and encouraged that the Proceed CD player is so affordably priced.

The Proceed was a long time in development, reflecting Madrigal's care and thoroughness before releasing a new product. Many technical innovations have been incorporated into the Proceed, and the machine's unusual appearance exemplifies the "start from scratch" attitude behind its development. With its nearly square proportions, grey cabinet, and sparse front-panel controls, the Proceed may set a new trend in audio component styling.

Robert Harley  |  Nov 08, 2019  |  First Published: Oct 01, 1992  |  10 comments
Looking at the Digital Link II's build quality and circuitry, it's hard to believe that it can sell for $499 at retail. The Digital Link II shares the same appearance as PS Audio's SuperLink and UltraLink processors, but has a 4"-shorter chassis. The ¼"-thick front panel uses PS Audio's familiar touch-sensitive switches that turn the unit on and select between coaxial and optical inputs. LEDs above these switches indicate when the unit is locked to the digital source. A third LED illuminates when power is applied.
Robert Harley  |  Dec 08, 2015  |  First Published: Oct 01, 1993  |  0 comments
It's easy for reviewers to become jaded by the high prices of some audio products. We get the products in our listening rooms—albeit temporarily—without having to part with our own money. Consequently, we get enthusiastic about products that offer real breakthroughs without, perhaps, fully considering their cost.
Robert Harley  |  Apr 05, 2016  |  First Published: Jun 01, 1992  |  2 comments
The night before I started to write this review, PBS began a five-part series on computers called "The Machine that Changed the World." The first episode described the development of the ENIAC (Electronic Numerical Integrator and Accumulator), the first electronic computer. The ENIAC used 18,000 vacuum tubes, had over 500,000 solder joints, required a room 30' by 50', had to be physically reprogrammed with patch cords to perform different tasks, and packed less computing power than today's $4.99 pocket calculator.
Robert Harley  |  Apr 13, 2016  |  First Published: Dec 01, 1995  |  0 comments
Of all the products I've reviewed or auditioned, a select few jump out as "best buy" recommendations. Almost universally, such products are liked by a wide range of audiophiles, and seem to match well sonically to many systems. Moreover, these products all have outstanding value; they offer a higher level of musical performance than you'd expect from the price.
Robert Harley  |  Mar 29, 1995  |  1 comments
Time to 'fess up: How many of you actually read the "Measurements" sections of Stereophile's equipment reports and understand what's being measured, and why? I suspect that many readers skip over the technical assessment of the reviewed product and make a dash for the "Conclusion."

Pages

X