John Atkinson

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John Atkinson Posted: Jun 07, 1997 Published: Jun 07, 1995 0 comments
Compuserve's CEAUDIO forum has been buzzing in recent weeks about audio cables. The subject even spilled over into an April meeting of the New York chapter of the Audio Engineering Society (see Wes Phillips's report in this month's "Industry Update"). Nearly two decades after Polk, Fulton, and Monster Cable raised our collective consciousness about the differences cable choice can make in an audio system, the debate still rages between audiophiles and some members of the engineering community. "High-priced tone controls" is how some engineers dismiss the subject of cables, while admitting that they can sound different. Other engineers adopt the "Hard Objectivist" line that if there are differences to be heard between cables, differences in the lumped electrical parameters of resistance (R), inductance (L), and capacitance (C) are all that are required to explain such differences.
John Atkinson Posted: Sep 04, 2005 Published: Jun 04, 1995 0 comments
It was a classic American tale: hearing that the head honcho of RadioShack was in town, the principals of Oregon-based high-end loudspeaker manufacturer Linaeum found out where he was staying and called him to see if RadioShack would be interested in marketing their speakers. They were rewarded for their daring by being given an introduction to the right RadioShack department head, and before you could say time-coherent, a deal was struck for RadioShack to manufacture a new line of three "audiophile" loudspeakers featuring a version of the unique Linaeum tweeter. The less-expensive Optimus Pro X77 and LX4 models use a baffle-mounted tweeter that radiates just to the front; the top-of-the-line Optimus Pro LX5 reviewed here mounts a bi-directional tweeter on the top of a diecast aluminum enclosure.
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John Atkinson Posted: May 01, 1995 0 comments
When some unknown copywriter coined that immortal phrase to promote the worldwide launch of Compact Disc in late 1982, little did he or she foresee how quickly it would become a term of ridicule. Yes, early CDs and players offered low background noise, a flat spectral balance, and freedom from wow and flutter. But all too often, the music encoded in the "perfect-sounding" pits seemed to have taken a vacation, leading the renowned recording engineer John Eargle to offer, in the medium's defense, that if you were to hear just one CD that sounded good, digital technology would be proved to be okay.
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John Atkinson Posted: Dec 05, 2007 Published: Apr 05, 1995 0 comments
Conventional wisdom has it that the perfect sculpture is present, but hidden within the raw material. And the same conventional wisdom similarly applies to magazine editing: all it needs is careful chipping away at the extraneous material in the raw text files we receive from our authors—sometimes the barest degree of reshaping, repointing, and restructuring—and you have a finished product that both maximally communicates the writer's message and makes the anonymous artisan-editor proud of a job well done.
John Atkinson Posted: Mar 07, 1995 5 comments
Back in the spring of 1990, Stereophile introduced its first Test CD, featuring a mixture of test signals and musical tracks recorded by the magazine's editors and writers. Even as we were working on that first disc, however, we had plans to produce a second disc which would expand on the usefulness of the first and feature a more varied selection of music. The result was our Test CD 2, released in May 1992.
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John Atkinson Posted: Sep 07, 2007 Published: Mar 07, 1995 0 comments
"Writing about music is like dancing about architecture."—Laurie Anderson
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John Atkinson Posted: Feb 08, 1995 0 comments
"Never explain, never apologize." But in this month's "As We See It," I intend to do both. First, the apology:
John Atkinson Posted: May 08, 2008 Published: Jan 08, 1995 0 comments
In the ice-cream world, chocolate is the universal end of the line. Vanilla experiments that taste great but look foul, maple syrup flavors that are more maple than syrup, tutti-frutti that's too tutti—all are recycled as chocolate flavor, their visual sins permanently hidden from view. In the world of wood, the equivalent of chocolate ice cream is the ubiquitous "black ash" veneer. The original color and character of the wood are irrelevant: it all ends up stained black.
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John Atkinson Posted: Dec 07, 2007 Published: Jan 07, 1995 0 comments
As in any community bound tightly together by shared enthusiasms, the High End is regularly swept by tides of fashion. Some of the fads prove to be based on something of value, and outlast the initial burst: loudspeaker spikes and Tiptoes, for example, or the resurgence of tube designs, or making use of high-quality passive components. Other fads, particularly if not based on good engineering, fall by the wayside. (Does anyone still use a Tice Clock in their system? Or suspend their cables and interconnects on little acrylic bridges?)
John Atkinson Posted: Feb 25, 2007 Published: Dec 25, 1994 0 comments
As far as I can tell, Santa Fe–based speaker engineer John Bau had designed but four commercial loudspeakers before the TC-60 was launched at the 1994 Winter CES: in order of appearance, they were the Spica SC50i (1980), the TC-50 (1983), the Angelus (1987), and the SC-30 (1989). None were expensive, and all garnered much praise, both in Stereophile's pages and elsewhere.

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