Steve Guttenberg

If you're over 30, do you still buy new music?
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Steve Guttenberg  |  Apr 25, 2010  |  First Published: Dec 31, 1969  |  0 comments
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Rediscovering the Faith
As We See It
Steve Guttenberg  |  Mar 15, 2010  |  0 comments
I may have had 4000 LPs and a perfectly wonderful Linn LP12 turntable, but I could go for weeks on end without listening to a single LP. But I still thought of myself as one of the vinyl faithful, even as I rationalized my digital-centric listening tendencies. I loved analog in theory—I just couldn't bring myself to listen to it all that much.
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Whatever happened to 5.1-channel music?
As We See It
Steve Guttenberg  |  Jul 07, 2009  |  7 comments
I love two-channel stereo. A great stereo recording can produce such a full-bodied, three-dimensional soundstage that surround sound seems superfluous. Multichannel is just peachy for home theater, but good ol' stereo suits music just fine, thanks very much.
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How high do you want your fi?
As We See It
Steve Guttenberg  |  Apr 10, 2009  |  0 comments
Would you really want a perfect hi-fi?
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Do you buy new LP records?
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Steve Guttenberg  |  Mar 15, 2009  |  First Published: Dec 31, 1969  |  164 comments
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Does your system's sound quality vary from day to day?
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Steve Guttenberg  |  Mar 02, 2009  |  First Published: Dec 31, 1969  |  78 comments
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Modern Sounds
As We See It
Steve Guttenberg  |  Dec 17, 2006  |  0 comments
"You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing, just like—static."—Bob Dylan, interviewed by Jonathan Lethem. Rolling Stone, September 7, 2006
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Why are so few classical, jazz, or rock musicians audiophiles?
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Steve Guttenberg  |  Nov 05, 2006  |  First Published: Dec 31, 1969  |  0 comments
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Is Dylan full of static or has he got it right when he declares that modern recordings suck?
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Steve Guttenberg  |  Sep 03, 2006  |  First Published: Dec 31, 1969  |  66 comments
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Walter Sear's Analog Rules
Interviews
Steve Guttenberg  |  Mar 27, 2005  |  0 comments
The first thing you notice about Walter Sear's legendary Manhattan studio is that it feels so darn comfortable. Sear Sound doesn't have a wall of gold records, gleaming million-dollar consoles, or the latest high-resolution digital workstations, but a quick stroll around the three studios reveals a treasure trove of tube and analog professional gear: a pair of Sgt. Pepper–era Studer recorders plucked from EMI's Abbey Road studios; an early Modular Moog synthesizer Sear built with Bob Moog; and a collection of 250 new and classic microphones.
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