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Art Dudley Posted: Mar 24, 2015 0 comments
"Too much Stokowski."—Sergei Rachmaninoff in 1940, reacting to a demonstration of a stereo recording of Leopold Stokowski conducting the Philadelphia Orchestra

I don't remember when, but at some point during the past few years I realized that, in my home, mono cartridges outnumber their stereo counterparts. A few weeks ago, my collection of phono equipment took another step in the same strange direction: After receiving from Ortofon a sample of their CG 25 DI Mk.II mono pickup head ($902) for review, I was so impressed with its sound that I asked if I could buy the review sample. Now, having put check in mail, I own twice as many mono cartridges as stereo ones. Take that, multichannelism.

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Art Dudley Posted: Apr 22, 2015 0 comments
At home, I have two different ways of listening to music—just as I have two different ways of cooking and washing the car and making coffee and getting dressed to go out.

My first approach to listening is the one that takes the most time: It requires forethought and effort and, consciously or not, a certain amount of ritual—yet those things are enjoyable in and of themselves, and the end results are often more than merely satisfying.

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Art Dudley Posted: Mar 21, 2004 Published: Mar 01, 2004 0 comments
One of the nicest things about communicating online is the potential for immediacy. One person can offer up a statement, another can respond within seconds, and voilà: instant town hall.
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Art Dudley Posted: Jun 05, 2015 6 comments
"I don't know what I think on that one. I haven't written about it yet."—Walter Lippmann (attributed)

As sometimes happens, this started out to be a very different column. But by the time I was a thousand words into it, I found that my point of view had changed.

A number of months ago, I received from a Canadian company called BIS Audio a review sample of their Expression interconnect: a shielded, unbalanced interconnect terminated with Eichmann BulletPlugs (RCA). Priced at $480 Canadian per 1m pair, the Expression falls squarely in the middle of BIS's interconnect line: a lowish range for high-end audio, and suggestive of a manufacturer that values value.

Art Dudley Posted: Jun 30, 2015 11 comments
Before hitting the Refresh key on last month's column, which was dedicated to the challenges one encounters when evaluating audio cables and other accessories, I'd like to share with you a true story: a cautionary tale, as it were, about the hazards of writing reviews for a living.

Seven or eight years ago, just as spring was returning to upstate New York, I made my annual trek to Montreal for Salon Son et Image: one of my favorite audio shows for a number of reasons, not the least being the fact that I can travel there by train.

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Art Dudley Posted: Jul 28, 2015 2 comments
During our second trip to the UK, my wife and I drove from Heathrow Airport to Swindon, to visit an older couple we'd met on our first trip. We arrived around noon, and Vera and Ross made us a nice lunch, which we enjoyed while looking at scrapbooks filled with family photos and well-worn newspaper clippings. Vera asked where we intended to spend the night, and I said that our next stop was York.
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Art Dudley Posted: Sep 03, 2015 4 comments
Our small hobby contains many even smaller subgroups, some of them openly hostile to one another—itself a partial explanation for the whole small-hobby thing. I have been a card-carrying member of some of those groups, have lurked at the edges of others, and have ignored only a few—most notably that community of manufacturers who believe that the surest way to make a better piece of playback gear is to make it bigger and heavier and more expensive than anything else on the market: a group sadly notable for its influence over much of the reviewing community. Those exceptions aside, almost every approach to domestic playback gear has, at one time or another, had at least some appeal, and I'm lucky to have learned something from many of them.
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Art Dudley Posted: Sep 30, 2015 3 comments
To paraphrase the playwright Alan Bennett: When I started Listener magazine, my idea was to create a small, anarchist journal. But people wouldn't obey the rules.

In 2003, when I began writing for Stereophile, I felt very much at home. John Atkinson had one set of rules (footnote 1) to ring us in, us being the codependent communities of audio reviewers and audio manufacturers. Martinet that I am, I layered atop those policies a few rules of my own, to govern interactions with members of the industry. More recently, I began to observe an additional practice—I wouldn't quite call it a policy—meant to prevent mismatches, missteps, misunderstandings, and hard feelings all around: When someone offers me a product of a sort for which I have a consistent and automatic dislike, I tell them so. I say, politely, that I'm disinclined to borrow and write about the thing, because I suspect it will mesh with neither my system nor my tastes.

Art Dudley Posted: Oct 29, 2015 6 comments
Please don't tell her I said this, but lately, my wife has been getting twitchy about my records. Twitchy as in: She wants me to sell them. Or at least some of them.

I have only myself to blame. For years, I have shared with her my every joy that came of finding, at a lawn sale or garage sale or on eBay or at a record store whose proprietors "had no idea what this thing is worth," some rare and valuable treasure. And therein lay another facet of my problem: As often as I would rejoice at the music I was poised to enjoy, or the sheer pleasure of acquiring something rare and well made, I would roll, pig-like, in the pleasure of the thing's potential monetary value. Old Testament–style dark clouds fill the sky outside my window even as I type this.

Art Dudley Posted: Nov 24, 2015 1 comments
Just as John Atkinson has a special telephone on his desk, by means of which the late J. Gordon Holt expresses his displeasure at this magazine's continuing decline into latitudinarianism, my own desk is littered with a dozen or so windup timers, each set to remind me how long it's been since I last wrote about this or that hi-fi eccentricity. Each timer has its own distinctive ring: The one labeled "LOWTHER" is a bit shrill, especially at certain humidity levels, while the one marked "QUAD ESL" can be heard to best advantage only when sitting in a particular spot—and even I have to admit that my "CARTRIDGE ALIGNMENT" timer seems to go off rather too often.

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