John Atkinson

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John Atkinson Posted: Feb 06, 2013 4 comments
As I wrote in my review of the Bricasti M1 D/A processor in February 2012, it seemed a good idea in the late 1980s: upgrade the performance of your CD player by feeding its digital output to an outboard digital/analog processor. British manufacturer Arcam, one of the first companies to see the opportunities in this strategy, introduced their Black Box in 1988. When I reviewed the Black Box in February 1989, I found that its low-level linearity was among the best I had measured at that time for a product featuring the 16-bit Philips TDA1541 DAC chip set. However, that linearity still wasn't very good in absolute terms. Back then, it required heroic and expensive engineering to obtain D/A performance that did justice to the 16-bit CD. These days, however, the semiconductor foundries produce a plethora of relatively inexpensive D/A processor chips that both handle 16-bit data with ease and wrest full resolution from 24-bit data.
Sam Tellig John Atkinson Posted: Feb 14, 2014 Published: Dec 01, 2013 6 comments
Am I the only one who values content and convenience over sound quality?

There. I've said it. I am not an audiophile; ie, someone who's in love with recorded sound for its own sake. The search for ideal sound can leave a person burned out and broke.

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John Atkinson Posted: Jan 17, 2014 2 comments
Arcam used to CES to launch a “statement” integrated amplifier, the FMJ A49. Priced at $5000, the A49 offers 200Wpc into 8 ohms (with the first 50W in class-A), 400Wpc into 4 and features a class-G output stage, fully balanced topology, MM/MC phono stages, and a onboard power supply for Arcam’s rSeries of wired and wireless DACs. While Arcam’s lower-priced products are made in China, the new amplifier is the first products to be manufactured in the USA, at the parent company’s facility in Rochester, New York.
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John Atkinson Posted: Aug 17, 2003 0 comments
An archive of articles that the late Michael Gerzon wrote for Hi-Fi News and Studio Sound magazines has been established at the website of Hi-Fi News consultant technical editor Keith Howard.
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John Atkinson Posted: May 12, 2002 0 comments
This magazine's "Recording of the Month" feature has been running without a break since it first appeared in our January 1994 issue. The idea of its progenitor, then-music editor Richard Lehnert (who still copy-edits every word you see in Stereophile), was that every month we would recognize a recording that defied "Holt's First Law" by offering superb sound and wonderful music (footnote 1). I think we've succeeded at that goal. Despite the letter that Robert Baird mentions in his "Aural Robert" column this month (p.113), whose writer objected to the February issue's pick (Shelby Lynne's Love Shelby, Island ISLF 15426-2), if an audiophile's music collection consisted entirely of Stereophile Recordings of the Month, there wouldn't be a dog in the whole eclectic bunch.
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John Atkinson Posted: May 26, 1995 Published: Aug 06, 1986 0 comments
From London, England, to Santa Fe, New Mexico, is a pretty big jump, both geographically and culturally. From Hi-Fi News & Record Review to Stereophile, however, is a mere hop; the similarities overwhelm the differences. Unlike the US, mainstream magazines in the UK have managed to keep in touch with the fact that hi-fi components sound different; to edit and to write for an ostensibly "underground" American magazine presented no major philosophical problems. (I say "to edit," but as mentioned in "The Big Announcement," Vol.9 No.3, my editing is done in harness with Stereophile's founder and guiding light, J. Gordon Holt.)
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John Atkinson Posted: Jan 13, 2009 6 comments
The speakers from Colorado-based Avalon Acoustics have either featured conventional, rectangular boxes (in the less-expensive NP series, like the Evolution 2.0 I reviewed last July) or the unique, multifaceted enclosures that I first saw in 1990's Eclipse, which are used in the cost-no-object designs like the Indra.
John Atkinson Posted: Jul 25, 2013 Published: Aug 01, 2013 17 comments
Apple's iPod came of age in the fall of 2003, when, with the release of iTunes 4.5, the player was no longer restricted to lossy compressed MP3 or AAC files. Instead, it could play uncompressed or losslessly compressed files with true "CD quality"; users no longer had to compromise sound quality to benefit from the iPod's convenience.

Enter Astell&Kern. At the beginning of 2013, this brand from iRiver, a Korean portable media company, introduced its AK100, a portable player costing a dollar short of $700 and capable of handling 24-bit files with sample rates of up to 192kHz.

John Atkinson Posted: Mar 07, 2014 1 comments
Back in the summer of 2009, USB-connected D/A processors that could operate at sample rates greater than 48kHz were rare. Ayre Acoustics had just released its groundbreaking QB-9, one of the first DACs to use Gordon Rankin's Streamlength code for Texas Instruments' TAS1020 USB 1.1 receiver chip. Streamlength allowed the chip to operate in the sonically beneficial asynchronous mode, where the PC sourcing the audio data is slaved to the DAC. But high-performance, USB-connected DACs like the Ayre were also relatively expensive back then, so in the January 2010 issue of Stereophile I reviewed a pair of soundcards from major computer manufacturer ASUS , the Xonar Essence ST and STX, which, at $200, offered a much more cost-effective means of playing hi-rez files on a PC.
John Atkinson Posted: Jan 24, 2010 6 comments
With all the current fuss about getting audio data from a computer to a standalone D/A processor via S/PDIF, USB, FireWire, WiFi, or Ethernet (footnote 1), it has been overlooked that the oldest way to get audio from a PC is to use a high-performance soundcard plugged into the host machine's motherboard. I remember how excited I was when I installed a Sound Blaster Pro 16 board in the 486-based Dell running Windows 3.1 that I was using in the early Clinton era, plugged its analog output into my high-end rig, and played back 16-bit/44.1kHz files.

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