John Atkinson

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John Atkinson Posted: Jun 10, 2013 1 comments
At $12,600/pair, the two-way S1 is the least-expensive speaker to come from Magico. Nevertheless, in a relatively large room at the Atrium, driven by the Constellation monoblocks ($54,000/pair) that Mickey Fremer will be reviewing in the October issue, and the Constellation Virgo preamp ($29,000) had an ease to its sound, coupled with an almost full-range balance with palpable imaging. Source was Constellation’s new Cygnus server ($29,000), controlled by an iPad app, and cables were all Kubala-Sosna. Expensive electronics but this system was one of my best sounds at the Show. (And I’m not just saying that because Constellation’s Peter Madnick played one of my favorite Cantus tracks, an acapella treatment of Curtis Mayfield’s “It’s Alright,” which I recorded live at Minneapolis’s Southern Theater in 2008.
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John Atkinson Posted: Apr 06, 2011 1 comments
The Helium2 has long been one of Stereophile's long-term reference monitors, so I was expecting good sound when I went into the VMax Services room. And apart from the ubiquitous upper-bass boom that afflicted the standard-sized rooms at the Hilton Bonaventure, good sound was what I heard.
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John Atkinson Posted: Oct 18, 2011 0 comments
I stuck my head in the door of Room 8009. "That's Willie Nelson," I recognized that distinctive voice. "But what's he singing? Wait a second, that's Peter Gabriel's 'Don't Give Up'—WT...?" I had to go in and take a seat. Daedalus Athena three-way speakers ($9950/pair) were being driven by AMR AM-77 monoblock amplifiers which in turn were being fed signal from a First Sound Presence Deluxe tubed preamp ($9200). Source was AMR's impressive CD-77 CD Processor. Nice, very nice.
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John Atkinson Posted: Feb 17, 2002 0 comments
"An amusement park for the mind." That was how, some years ago, one engineer described the Audio Engineering Society's biannual conventions, which alternate between European and American venues. The 111th convention, subtitled "Advancing the Art of Sound," was held at the cavernous Jacob Javits Center on Manhattan's west side in early December. (It had originally been scheduled to take place last September, but was postponed for the obvious reason.)
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John Atkinson Posted: Apr 18, 2012 0 comments
The "Ask the Editors" sessions at the NY Audio & AV Show attracted enthusiastic, informed, and engaged audiences.
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John Atkinson Posted: Mar 14, 2013 5 comments
"Do you hear that difference?" asked Shunyata's Grant Samuelson. Indeed I did. Grant was playing a track from singer-songwriter Ray LaMontagne on Focal speakers and had replaced the Marantz amplifier's and disc player's stock AC cords with Shunyata cords; the voice and instruments became slightly better differentiated from one another. Then,instead of plugging the AC cords straight into the wall, he plugged them into a Shunyata Hydra distribution box. There was a further improvement in the same direction. Finally Grant removed the German-made Stillpoints wideband acoustic absorbers from the room's sidewalls. He didn't need to play any music, the sound of his speaking voice acquiring a distinct "honk."
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John Atkinson Posted: Mar 14, 2013 3 comments
There is something about the sound of open-reel tape that doesn't translate either to CD or to LP," I thought as I sat listing to Jackson Browne's "Rosie (you wear my ring)" from a 15ips Tape Project tape in the room shared by United Home Audio and Jolida. With MBL's floorstanding 116 omnidirectional speakers driven by Jolida's new Luxor 100W tube monoblocks ($12,000/pair) and Luxor dual-mono preamplifier (price still to be decided) sitting on Critical Mass Systems racks, and the tape played on one of UHA's extensively modified Tascam decks, there was an unforgettable, fleshed-out palpability to the presentation.
John Atkinson Posted: Jul 09, 2011 1 comments
Some of Ken Swauger's open-reel recorder collection on display, from left to right: a ReVox PR99, a Stellavox portable, a ReVox A77, plus some tasty tape releases.
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John Atkinson Posted: Oct 21, 2012 1 comments
As someone who fell in love with the sound of Apogee full-range ribbon speakers in the early 1980s, I made a point of visiting the room featuring Analysis Audio planar ribbon speakers. Driven by Arion HS-500 amplifiers ($5995/pair), which combine a class-D output stage with a tube input and driver stage, via JPS cables, a track from Patricia Barber’ Companion album sounded sweet and rich on the Omega ribbons ($24,200/pair with external crossovers), but with a touch of color in the mind-bass that was audible on kick drum.
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John Atkinson Posted: Oct 21, 2010 0 comments
"Good grief, those look like Apogees," I muttered as I went into the Analysis Audio room and saw the Analysis Omega planar-ribbon speakers ($22,000/pair). Driven by Arion HS-500 hybrid monoblocks ($5995/pair), which combine a tube input stage with a class-D output stage, the speakers sounded a bit too warm in the upper bass on Jennifer Warnes version of Leonard Cohen's "Way Down Deep," but this could well have been a room effect. The soundstaging was to die for, in terms of stability and accuracy.

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