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John Atkinson Posted: Mar 07, 2004 Published: Dec 01, 1990 0 comments
Jitter is not what digital sound quality induces in the listener; rather it is the instability in the clock signal that controls exactly when the analog waveform is sampled in the original A/D conversion, or when the digital word input into a DAC results in an analog voltage being produced at the chip's output. "So what?" is the response of digital advocates, "As long as a digital one is recognized as a one and a digital zero as a zero, then how can there be any difference in sound?" goes their argument, normally culminating in a fervently expressed "Bits is bits!"
John Atkinson Posted: Feb 25, 2006 Published: Nov 25, 1990 0 comments
As much as I'm tempted by the impressive sweep and scale with which some of the large, full-range loudspeakers endow music, for some reason I find myself more at home with more compact examples of the breed. This is not through lack of familiarity with large speakers, a pair of B&W Matrix 801s occupying pride of place in our living room (which also serves as my wife's listening room). Yet I find myself hankering after that ultimate soundstage precision that only minimonitors seem capable of producing: the loudspeakers totally disappearing, vocal and instrumental images hanging in space, truly solid—the prefix "stereo-" is derived from the Greek word stereos, which means solid—so that a rectangular, totally transparent window into the concert hall opens at the rear of your room. In addition, the necessarily limited low-frequency extension offered by small speakers makes it much easier to get the optimum integration with the room acoustics below 100Hz.
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John Atkinson Posted: Nov 24, 1990 0 comments
"Why do rhythms and melodies, which are composed of sound, resemble the feelings; while this is not the case for tastes, colors, or smells?"---Aristotle
John Atkinson Posted: Apr 09, 2006 Published: Nov 09, 1990 0 comments
As much as I'm tempted by the impressive sweep and scale with which some of the large, full-range loudspeakers endow music, for some reason I find myself more at home with more compact examples of the breed. This is not through lack of familiarity with large speakers, a pair of B&W 801s occupying pride of place in our living room (which also serves as my wife's listening room). Yet I find myself hankering after that ultimate soundstage precision that only minimonitors seem capable of producing: the loudspeakers totally disappearing, vocal and instrumental images hanging in space, truly solid—the prefix "stereo-" is derived from the Greek word stereos, which means solid—so that a rectangular, totally transparent window into the concert hall opens at the rear of your room. In addition, the necessarily limited low-frequency extension offered by small speakers makes it much easier to get the optimum integration with the room acoustics below 100Hz.
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John Atkinson Will Hammond Posted: Dec 08, 2016 Published: Nov 01, 1990 9 comments
In "Music and Fractals" in the November 1990 issue, I discuss how digital audio's quantization of amplitude information in what was originally a continuous waveform represents a fundamental difference between analog and digital representations of music. In a letter published in the English magazine Hi-Fi Review in January 1990, John Lambshead conjectured that naturally originating sounds were pseudo-fractal in character; that is, their waveforms have a wealth of fine detail, and that detail itself has an even finer-structured wealth of fine detail, and so on, until the crinkliness of the waveform is finally enveloped in the analog noise that accompanies every sound we hear.
John Atkinson Posted: Sep 26, 1995 Published: Sep 26, 1990 0 comments
"The only tubes that I want to see in my household are...the picture tube in my TV and the magnetron in the microwave oven," a Glendale, CA, reader recently wrote, and I guess his feelings reflect those of many when confronted by a supposedly "obsolete" audio technology. Forty years after the invention of the transistor and 20 after the widespread introduction of solid-state amplifiers (footnote 1), it must come as a shock to readers of the mass-market "slicks" that not only do a number of American manufacturers manufacture amplifiers and preamplifiers using tubes, but some of those companies—Counterpoint and Audio Research in particular—are among the more successful. It is the Classic 60 power amplifier from Minnesota-based Audio Research that is the subject of this month's lead-off equipment review.
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John Atkinson Posted: May 02, 2004 Published: Sep 01, 1990 0 comments
Meeting Englishman Tim de Paravicini for the first time, you start to wonder if your mind has slipped a gear, whether premature brain fade has cut in. The conversation seems not only to be racing by unexpectedly quickly, but also subjects you hadn't even realized were subjects are being examined in knowledgeable depth. It was at the end of the 1970s that I bumped into Tim at a trade show in the UK; having wanted to ask his opinion of tube-amp design, knowing that the gangling, wispy-bearded, Nigeria-born, one-time resident of South Africa and Japan, ex-Lux engineer (footnote 1) had cast a magic wand over the Michaelson & Austin product line, I found myself instead being treated to an exposition of color phosphor problems in TV monitors. For Tim is a true polymath, his mind seemingly capable of running at high speed along several sets of tracks simultaneously.
John Atkinson Posted: Jan 04, 2016 Published: Sep 01, 1990 0 comments
You can blame Casey McKee for this one. I found myself sitting next to Casey, who works at Brooklyn high-end dealer Innovative Audio (footnote 1), in the Phoenix rain last March, watching the first Formula One Grand Prix of the 1990 season. A month later, in New York for the High End Hi-Fi Show, I therefore thought it appropriate to visit Innovative and say "Hi." Audio pleasantries over, Casey enthused about this new Italian turntable stand he was setting up as I walked into the store, the oddly named ArchiDee.
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John Atkinson Posted: Jun 17, 2007 Published: Jun 17, 1990 0 comments
The French have a phrase for it: plus ça change, plus la même chose, which can be roughly translated as "the more things change, the more they stay the same." I was reminded of this when recently reading through the December 1980 issue of The Absolute Sound. There on p.368 was the statement that "Dave Wilson (Virgo) has joined the staff...to construct a testing program that will allow us to determine if some of the peculiarities and anomalies we hear in evaluating equipment can indeed be numerically measured."
John Atkinson Larry Archibald Posted: May 06, 2007 Published: Jun 06, 1990 0 comments
John Atkinson Opens
I've said it before and I'll say it again: a would-be loudspeaker designer shouldn't even start to think about the possibility of maybe designing a full-range, multi-way loudspeaker until he (and they do all appear to be men) has cut his teeth on a small two-way design. There is still as much art as science in designing a successful loudspeaker, even with all the computer-aided this and Thiele-and-Small that, that even a two-way design requires a designer either to be possessed of a monster talent or of the willingness to undergo months, even years, of tedious and repetitive work—or of both. For a would-be speaker engineer to start his career with a wide dynamic-range, multi-way design, intended to cover the entire musical spectrum from infra-bass to ultra-treble, seems to me to be a perfect case of an admittedly well-intentioned fool rushing in where any sufficiently self-critical angel would fear to tread.

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