As of February, 1982, the ownership of this publication passed to other hands. In total despair about its precarious finances, JGH accepted with alacrity an offer by Larry Archibald (an occasional contributor in recent years) to purchase the magazine. This has now come to pass, and it is because of the resulting infusion of money that you are holding this issue in your hot little hands now instead of three months from now (and that is probably being a little optimistic about the way things were).
A very popular myth among the audio unwashedand one still perpetuated by the pop hi-fi writersis that nothing is to be gained by paying more than $1000 for a stereo system (footnote 1). Members of the general public, including masses of people who enjoy live, unamplified music, have the impression that more money simply buys one wider and wider frequency range, and defend their $500 "compact" systems with the lame excuse that their ears aren't all that good, and who needs to hear what bats hear anyway? This is no doubt a soothing emollient for one's disinclination to invest more money in audio gear, but it is a supreme self-deception.
The third iteration of SME's 3009 is one of the most versatile tonearms around. For the same reason, it is also one of the most tedious to set-up because, since every parameter is adjustable, every parameter must be adjusted.
Editor's Introduction:In 1963, Stereophile's founder J. Gordon Holt published attacks on what he saw as the single largest step backward in high-fidelity sound reproduction at that time: RCA's introduction of "Dynagroove" LP records, where the recorded signal was pre-distorted and dynamically equalized to compensate for the poor performance of cheap phonograph players. "Issue 5...revealed most of RCA Victor's 'revolutionary' new system as nothing more than a sophisticated way of bringing higher fi to record buyers who don't care enough about hi-fi to invest in a decent playback system." Ten years later, Gordon wrote that, "As of 1974, the best we can say for Dynagroove is that there is no audible evidence of it on current RCA releases." (These articles were reprinted in June 1992, Vol.15 No,6, as part of Stereophile's 30th-anniversary celebrations.)—John Atkinson
We thought Audo Research's previous-model SP-2C (footnote 1) was excellent, but this is even better—the closest thing available, in fact, to the ideal straight wire with gain. Our sample had a minor glitch—there was a slight "plop" if you rotated the tone controls rapidly—but we could find nothing else about it to criticize. Currently, by far the best preamplifier than money can buy. And would you believe it uses tubes (at reduced heater voltage, for extended life and cooler operation)!
"As We See It" in the Stereophile issue dated Summer 1968 (actually published in 1970) noted the idealistic, glowing claims about how four-channel sound could put you right in the concert hail, but urged readers to wait before buying, to see whether quadrisound would indeed bring higher fidelity. We predicted it wouldn't—that whatever the potential of quadrisound (footnote 1), it would not be used to increase fidelity, but rather to play ring-around-the-rosy with music.
An equipment reviewer for one of the consumer hi-fi magazines once confided to a manufacturer that he found it hard to like electrostatics because of the kind of people who usually like electrostatics. His implication—that certain kinds of people gravitate towards certain kinds of sound—is an interesting thought, and one that might bear some further investigation. But there is no questioning the fact that electrostatic speakers in general do have a particular kind of sound, that might be characterized as "polite."
In the last issue we published a rather enthusiastic "Quickie" report on a small, $190/pair speaker system from a new company—the FMI Model 80. It was virtually devoid of low end, even as a stereo pair (pairing effectively doubles bass output), and slightly rough as well as a shade soft at the high end, but it had a quality of "aliveness" to it that almost defied belief. Was it a breakthrough in design? A new transducing principle? No, it was neither. In fact, the Model 80 looks like any one of those hundreds of little bookshelf systems that clutter, the pages of Stereo Review's "Hi-Fi Directory" in tedious profusion.