John Atkinson

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John Atkinson Posted: Sep 10, 2005 Published: Nov 10, 1997 0 comments
"This is offensive!" muttered usually mild-mannered Malcolm Hawksford, who was sitting next to me. "I'm leaving." The good professor was right. One thousand or so attendees at the 103rd Audio Engineering Society Convention, held at the end of September in New York, were being subjected to truly terrible sound. The irony was that the sound was that of 2- and 5-channel recordings made with 24-bit resolution and a 96kHz sampling rate, being played over a colored PA system to demonstrate the future of audio, in the form of DVD-Audio.
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.
John Atkinson Posted: Sep 04, 2005 Published: Dec 04, 1993 0 comments
Back in the early 1970s, the BBC needed a physically unobtrusive, nearfield monitor loudspeaker for use in outside-broadcast trucks. Accordingly, they instructed their design department, which at that time featured such luminaries as Dudley Harwood (the "father" of the polypropylene cone, who went on to found Harbeth) and the late Spencer Hughes (the "father" of the Bextrene cone, who went on to found Spendor), to produce such a model. Thus, not only was what was then probably the finest collection of British speaker-design talent involved in its development, there were no commercial constraints placed on the design. The only limitations were intended to be those arising from the necessarily small enclosure and the absence of the need for a wide dynamic range under close monitoring conditions.
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John Atkinson Posted: Sep 04, 2005 0 comments
Among the terrible news coming out of the Gulf states these past few days, we heard the sad news that Gary Warzin, one of the co-founders, with Tony Gregory, of high-end distribution company Audiophile Systems, had died on Saturday August 27 at just 56. Audiophile Systems had grown to prominence in the 1970s and '80s marketing Linn components in the US, and after Linn had set up their own distribution, had worked hard to establish the Arcam and dCS brands in the US. We reproduce below the email we received from Audiophile Systems, telling us of the news, but I'd like to offer my own memory of someone whose abilities as a serious expert on marketing—he was a Disney Fellow—were matched by his penchant for practical jokes:
John Atkinson Thomas J. Norton Posted: Aug 07, 2005 Published: Jan 07, 1990 0 comments
A strange disguise; still, write it down,
it might be read. Nothing's better left unsaid.
—Keith Reid
John Atkinson Posted: Jul 17, 2005 0 comments
Canadian company Paradigm has made a name for itself over the past 20 years with affordably priced, high-performance loudspeakers. Its Reference Series designs have garnered much praise from this magazine—I was well impressed by the floorstanding Series 3 Reference Studio/100 ($2300/pair) last January, my review following hard on the heels of Kalman Rubinson's enthusiastic recommendation of the smaller Studio/60 v.3 ($1600/pair) in December 2004, while the bookshelf Reference Studio/20 ($800/pair) has been a resident of Stereophile's "Recommended Components" listing ever since Bob Reina's original review in February 1998.
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John Atkinson Posted: Jul 17, 2005 0 comments
On mornings when I can get up early enough after a late-night listening session, I take the last express bus from my Brooklyn suburb to Stereophile's Manhattan office. An inveterate people watcher, I notice that while my fellow travelers and I don't form a traditional queue at the bus stop, preferring instead to mill around in something that resembles a jelly donut, we still enter the bus in the order in which we arrived at the stop. The balance between individualism and social necessity is thus preserved.
John Atkinson Posted: Jun 05, 2005 0 comments
Not every interesting audio component gets a full review in Stereophile. Many more products are covered in Sam Tellig's, Art Dudley's, Michael Fremer's, Kal Rubinson's, and John Marks' regular columns than I have the space to publish measurements for. However, I do ask for samples of products that I feel deserve to be measured, particularly when our original coverage raised more questions than it answered.
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John Atkinson Larry Archibald Posted: Jun 05, 2005 Published: Sep 05, 1997 0 comments
An acquaintance in the world of CD distribution recently gave me an astonishing statistic: that the average classical title sells fewer than 2000 copies worldwide in its first year of release; which in turn means that many titles sell only about 500 copies! Given that the cost of producing a classical orchestral album can include up to $100,000 in union-mandated musician fees, such minimal sales guarantee financial disaster.
Kalman Rubinson John Atkinson Posted: May 22, 2005 0 comments
This lapsed fan of electrostatic speakers finds it curious that, while MartinLogan is the predominant representative of this technology in the US, I had never auditioned an ML design in my home. I've enjoyed many Janszen tweeters, a KLH 9, an AcousTech X, Stax ELS-F81s, and I've dallied with Quad ESL-63s. But as dumb luck would have it, the first MartinLogan speaker to reach me, the new Montage, is a hybrid model.

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