John Atkinson

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John Atkinson Posted: Mar 16, 1998 0 comments
There was something odd about the clock on Jim Thiel's office wall. I didn't get it at first, other than noting that instead of the minutes being marked off at 12 five-minute intervals, Jim's clock had 24 markings. That was it: as well as the number "12" in its usual place at the top of the face, there was another "12" at the bottom, where the "6" usually is. The clock that Jim built was typical of everything this laconic loudspeaker engineer is involved in: logical, functional, and different from what anyone else in the same field does. In his cigarette-strained drawl, Jim explained that the short hand of his clock always points toward the sun: directly up at noon, directly down at midnight. That's the way a clock should be, declared Jim, and when you're in his company, it's hard to see how he could be wrong.
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John Atkinson Posted: Mar 14, 1998 0 comments
Coming soon on the Madrigal Audio Laboratories website is La Folia, a music webzine. Edited by Mike Silverton, La Folia sets out to supplement the audiophile press by directing its emphasis at recordings elsewhere neglected: present-day art music (aka "classical"), free and improvisational jazz, category-defying hybrids, and whatever else strikes their "clutch of sweet-spot stuckees as rare and well done."
John Atkinson Posted: Mar 09, 1998 0 comments
A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [gasp!] "purchase.") Before I bought my long-term reference loudspeakers—a pair of B&W John Bowers Silver Signatures—back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of Stereophile (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.
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John Atkinson Posted: Aug 01, 2004 Published: Mar 01, 1998 0 comments
"One of the worst-kept secrets in audio engineering is that what we hear does not always correlate with what we measure." So wrote the late Richard Heyser 30 years ago, as quoted in Time Delay Spectrometry, a 1987 anthology of his writings (footnote 1). What do we hear? Music heard live consists of a sound pressure that changes according to the logical demands of two things that have no physical reality: the way in which music is structured in time and pitch, and how that structure is ordered by the composer/musician. Heyser, one of the most perceptive audio engineers I've had the privilege to meet, repeatedly emphasized in his essays and papers that the reproduction of music is a multidimensional event.
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John Atkinson Posted: Feb 08, 1998 0 comments
As part of the reorganization process at Counterpoint, repair and updating of all Counterpoint products will be handled under designer Michael Elliott's direct supervision at a new facility separate from the manufacturing plant.
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John Atkinson Posted: Dec 05, 2004 Published: Feb 05, 1998 0 comments
"Do you have another DVD player?" asked Classic Records' Michael Hobson. As is usual in important demonstrations, Murphy's Law had struck with a vengeance. The prototype Muse DVD player Kevin Halverson had worked on most of the previous night was refusing to play the DVD Mike had placed in its tray.
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John Atkinson Posted: Jan 08, 1998 0 comments
As expected, the DVD WG-4 Audio Working Group announced at CES that it has released a draft of its DVD-Audio specification to the 10 original DVD consortium companies, and to music-industry associations RIAA (Recording Industry Association of America), RIAJ (Recording Industry Association of Japan), and IFPI (International Federation of the Phonographic Industry).
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John Atkinson Posted: Jan 02, 1998 0 comments
Loudspeaker manufacturer Polk Audio announced on December 31 that it had acquired an interest in Genesis Technologies, manufacturer of both loudspeakers and digital products. Not only did Polk invest $500,000 in Genesis convertible preferred securities, it also obtained a three-year option to purchase the Colorado-based high-end audio company, which is led by three industry veterans: Arnie Nudell (co-founder of Infinity), Paul McGowan (co-founder of PS Audio), and Mark S. Schifter (co-founder of Audio Alchemy).
John Atkinson Posted: Jan 01, 1998 0 comments
"To be natural," Oscar Wilde said, "is such a very difficult pose to keep up."
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John Atkinson Posted: Dec 27, 1997 0 comments
Phil Jones, the loudspeaker designer who pioneered the resurgence of metal-cone woofers with first Acoustic Energy in the UK, then Boston Acoustics' Lynnfield series, and finally his own company, Platinum Audio, is no longer with Platinum.

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