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J. Gordon Holt Posted: Sep 14, 2012 Published: Apr 01, 1988 0 comments
I was so impressed by the Nelson-Reed 8-04/B loudspeaker's low-end range that I seriously doubted the add-on subwoofers could add enough of significance to be cost-effective.

I was wrong.

Two of the subwoofers were provided, along with the necessary electronic crossover unit. Each 1204 unit contains four 12" woofers in a very solid sealed enclosure, with two facing to the front and two facing the rear. The electronic crossover has three controls, besides the AC power switch: a hardwire (footnote 1) bypass switch, a stereo/mono switch, and a subwoofer level control. In the stereo mode, the low frequencies are kept separate, left from right; in mono mode, they are blended together for feeding to a single subwoofer. I will not resurrect the question of whether or not it is important to maintain stereo separation into the LF range, except to echo N-R's observation that there is no LF separation on analog discs to begin with; the lows are mixed together, to limit vertical excursions of the cutting stylus that could cause it to rise above the disc surface or, worse, dig into the aluminum base of the master disc.

J. Gordon Holt Posted: Aug 17, 2012 Published: Apr 01, 1988 0 comments
According to designer Bill Reed, the Nelson-Reed 8-04/B was not originally intended to be an audiophile speaker system, but was instead designed as a high-quality monitor for the critical recording engineer who wanted to be able to walk from the studio into the control room and hear the same thing from his speakers that he heard "live." The fact that modern studio mike technique ensures that this could never happen is probably beside the point. The point is that reproducing the original power and dynamic range of live music is a formidable challenge, which practically no audiophile speakers have met successfully. On the other hand, so-called studio monitors, which can do that routinely, have tended to be highly colored and otherwise generally lousy in all areas of fidelity except output capability. The 8-04/B was an attempt to combine the strengths of both kinds of speaker, while avoiding their usual weaknesses.
J. Gordon Holt Posted: Apr 05, 2016 Published: Sep 01, 1966 10 comments
Our mail, in recent months, has brought a number of comments (some of them printed in this issue) from professional audio men who decry the fact that developments in the audio field seem to have come to a screeching halt.

There would seem to be some justification for believing this, too. There hasn't been a new kind of loudspeaker, amplifier, pickup, or tuner for the past five years or so. The professional engineering journals, once loaded with juicy articles about research and developments in music reproduction, are now devoted largely to public-address techniques and new methods for the "creation" of electronic music.

J. Gordon Holt Posted: Aug 17, 2012 Published: Jun 01, 1987 1 comments
"Grand Integra" is the name Onkyo has given to its line of perfectionist-oriented audio products, and the M-508 is the cheaper of Onkyo's two Grand Integra power amplifiers. (The flagship model is the $4200 M-510, reviewed by Larry Greenhill in Vol.8 No.8, featuring "high current capability," and rated at 300W continuous per channel.)
J. Gordon Holt Posted: Jul 02, 2010 Published: May 02, 1985 0 comments
Although the idea of a $1000 moving-coil cartridge no longer shocks audiophiles, it is still not exactly what I'd call "Mainstream Hi-Fi." Audio magazine's 1984 Equipment Directory—the most complete such compendium published in the US—lists only 10 models in this price range, not counting the Kiseki Lapis Lazuli at a whopping three-and-a-half grand! I have not tested most of these, nor have I tried any of the current models from the Japanese Koetsu firm, which was first with the gall to put a $1000 price tag on a cartridge. But I have tested a couple of one-granders during the past few years, and was sufficiently unimpressed to be hesitant about testing any more samples of what were beginning to look like nothing more than monumental ripoffs. So when Ortofon sent us the MC-2000, I was naturally less than enthusiastic about trying it.
J. Gordon Holt Posted: Dec 10, 2006 Published: Jan 10, 1988 0 comments
The Ortofon MC-2000 may just have been the most impractical cartridge to be unleashed upon the audio community for some years. With a high compliance (20cu) that made it ill-suited for most tonearms, it also had a preposterously low signal output of 50 microvolts, which gave new meaning to the terms hum and noise. Few MC preamps had enough gain to deliver adequate driving voltage to a system, and none of those that did had low enough noise to be usable with the 2000. If the problem wasn't hum, it was hiss; if hiss was acceptably low, there would be too much hum. At least Ortofon had the sense to be aware of the problem and to do something about it, in the form of their T-2000 step-up transformer, which is the only device I ever found that would allow the cartridge to be operated without a constant background of hum or hiss. Despite all this, I have used the MC-2000 as my reference cartridge for the last two years. Why? Because of all the cartridges I've tried, it is by far the most accurate.
J. Gordon Holt Posted: Oct 12, 2015 Published: Dec 01, 1979 4 comments
Long-time Stereophile readers May be dismayed by what appears to be our unfettered satisfaction with some of the recent crop of new components. Aren't we, after all, dedicated to the pursuit of perfection? Do we really feel that some products are all that close to it? The answer to both questions is "Yes."
J. Gordon Holt Posted: Aug 07, 2005 Published: Feb 07, 1984 0 comments
What, a high-fidelity product from Magnavox? The company that 20 years ago had a reputation for building massive, polished-console boom-boxes and was scornfully referred to in audiophile circles as "Maggotbox"? Some important things have happened to Magnavox since those days. Mainly, it became a subsidiary of the Dutch Philips company, co-developer of the laser video disc and now the audio Compact Disc. The Magnavox CD players are actually made by Philips for US distribution by Magnavox.
J. Gordon Holt Posted: Nov 05, 2014 Published: Dec 01, 1981 4 comments
Editor's Note: On the 52nd anniversary of Stereophile's founding in 1962 by J. Gordon Holt, we are publishing this mea culpa "As We See it" essay from 1981, in which he explains why Vol.4 No.10 was almost six months late in mailing to subscribers. Gordon had relocated from the Philadephia suburbs to Santa Fe, New Mexico in 1978, and as he had explained in the April 1978 issue, the move had not gone well. "Much of the equipment necessary for testing got damaged or destroyed in transit," he wrote, adding that "What had promised to be a superb listening room turned out to have some sticky acoustical idiosyncrasies."
Anthony H. Cordesman J. Gordon Holt Posted: Dec 29, 1995 Published: Dec 29, 1985 0 comments
Several issues back, I mentioned a major "new wave" of power amplifiers coming along: the Adcom 555, the New York Audio Labs transistor-tube hybrids, and the latest Krells, for example. They demonstrate that major audible improvements are still possible in something as well-explored as the power amplifier. Not only that, some of these products demonstrate that superior performance can be combined with relatively low price.