Nineteen days after J. Gordon Holt died, my daughter and I drove west on NY Route 20, passing lawn sale after lawn sale on our way to the supermarket in Richfield Springs. Each sale promised a pleasant waste of time on that hot afternoon, but only one caught my eye: There, among the Avon bottles and the 8-track tape cartridges, were two large bookshelf loudspeakers, dressed in walnut veneer and light-colored fabric grilles. AR 3s, I thought. Or maybe Large Advents. "They'll still be there when we come back this way," I said, stupidly.
In the town where I grew up there were two places to buy records: a family-owned department store and the local Woolworth's, both long gone. The first record I ever bought, the 45rpm single of Roger Miller's "King of the Road," came from the former in 1965. I was 11 years old.
At our best, audiophiles are the selfless and generous custodians of a thousand small libraries, keeping alive not only music's greatest recorded moments but the art of listening itself. At our worst, we are self-absorbed, superannuated rich kids, locked in an endless turd-hurl over who has the best toys.
Over the years, Stereophile and its writers have been taken to task for doing, thinking, and saying any number of things. We've been raked over the coals for enjoying acoustic music, electric music, old music, new music, light music, serious music, and music God put here as a test, just to see if we're smart enough to hate it. We've been taken to the woodshed for comparing new products to known references; for failing to compare new products with known references; for borrowing known references for the purpose of such comparisons; for taking advantage of professional discounts so that we can buy and keep known references for the purpose of such comparisons; for being out-of-touch naïfs who haven't owned enough gear in our lives to know anything about anything; and for being spoiled, materialistic pigs who have owned so many things that we've lost touch with The Common Man. We've been assaulted for loving analog, dissed for loving digital, tasered for loving tubes, sucker-slapped for loving solid-state, and mauled for loving mono. We've even been impeached, indicted, secretly reassigned to a new diocese, and flown back to Russia without an adult guardian for being overly concerned with current events.
One more word for unhappy consumers, in any marketplace, who confuse praise for the new with rebuke for the old: 20 years on, I continue to admire the best qualities of my Linn Sondek LP12 turntable (itself not the first LP12 I've owned). I smile to think of all the records I enjoyed during those two decades.
If you've followed their story here and elsewhere, you probably know that Tokyo's Shindo Laboratory (footnote 1) has a reputation for defying the two most monolithic of all high-end audio commandments.
The English public may not like music, but they absolutely love the sound it makes.Sir Thomas Beecham
Just as car magazines are filled with descriptions of how fast their subjects don't go and how surely they don't stop, magazines such as ours are filled with descriptions of how neutrally our subjects don't play tones, and how precisely they don't place images in space.
When you play recorded music, you have before you a work of art with almost no physical existence at all; reconstituting it requires electricity, which will itself imitate the musical continuum represented by the bumps in the groove or the zeros in the datastream. When you listen to recorded music, you are listening to your household AC, and better AC equals better playback. That sounds obvious to me and you, even as it sends the technocodgers into paroxysms of puritanical indignation.