John Atkinson

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John Atkinson Posted: Nov 29, 2004 Published: Sep 27, 1995 0 comments
"The idea that intellectual property in a Net-based economy can lose its value horrifies most owners and creators. They'd better get over it."—Esther Dyson, "Intellectual Value" Wired, July 1995, p.136
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John Atkinson Posted: Nov 08, 2004 Published: Nov 01, 2004 0 comments
"Bugger!" A Pennsylvania state trooper had stepped out from behind the overpass on the Turnpike and was aiming his radar gun straight at me. I reflexively jammed on the anchors, which was a) pointless and b) downright dangerous, considering I was in the middle of a phalanx of cars and trucks all cruising 5-10mph over the speed limit. But what can you do?
John Atkinson Posted: Nov 08, 2004 Published: Nov 01, 2004 0 comments
The integration of computers into high-end audio is contentious. A reader poll last spring on our website indicated that a significant proportion of audiophiles—a quarter—is dead set against the idea, yet both Microsoft, with Windows Media Player 9, and Apple, with iTunes, seem convinced that the future of domestic music reproduction involves computers. To support that idea, both Apple- and Windows-based computers (the latter with Intel's about-to-be-launched HD Audio technology) are promoting hi-rez audio playback.
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John Atkinson Posted: Oct 15, 2004 Published: Oct 01, 2004 0 comments
"Let's face it, we recommend way too many components."
John Atkinson Posted: Oct 15, 2004 Published: Oct 01, 2004 0 comments
One of the highlights of recent Consumer Electronics and Home Entertainment shows has been the demonstrations of sound quality put on by Australian amplifier manufacturer Halcro with Wilson Audio loudspeakers. At my first exposure to one of these demos—described in my April 2002 "As We See It"—enormous dynamic range was coupled with a grain-free presentation and almost holographic stereo imaging to produce a breathtaking sweep of sound. Paul Bolin reviewed Halcro's dm58 monoblock in October 2002, and that amplifier was subsequently voted this magazine's "Amplification Component of 2002" by our reviewers.
John Atkinson Posted: Sep 09, 2004 Published: Sep 01, 2004 0 comments
Simaudio has been doing well in the middle of the high-end market, providing products such as their Moon i-5 integrated amplifier (reviewed by Chip Stern in July 2002), which offers a glimpse of high-quality sound at an affordable price. That's not to say that the Canadian manufacturer neglects the cost-no-object market: the two-box, $5700, Simaudio Moon Eclipse CD player impressed the heck out of Brian Damkroger when he reviewed it for Stereophile in April 2001 (with a Follow-Up in April 2003). So when Simaudio's Lionel Goodfield offered me their Moon Equinox player ($2000) for inclusion in my irregular series of CD-player reviews (footnote 1), I didn't need to be asked twice.
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John Atkinson Posted: Aug 29, 2004 Published: Dec 01, 1998 0 comments
It was a powder blue Pinto. Brand new, it drove like a bowl of Jello with wheels. No matter how firmly I gripped the steering wheel, I had no confidence that it had any kind of relationship with the wheels on the road. And pickup? There was none. But because its designers had sacrificed all quality to build it cheaply, the Ford Pinto was equally cheap to rent when I did so back in 1980.
John Atkinson Posted: Aug 22, 2004 Published: Aug 01, 2004 0 comments
Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.
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John Atkinson Posted: Aug 15, 2004 Published: Aug 01, 2004 0 comments
Stereophile is devoted to getting the best sound from a home audio system. But as I have written before, audiophiles don't have access to an absolute sound, only to what has been captured in the pits or grooves of their discs, which is itself the result of a creative process. The playing back and the making of recordings are therefore two sides of the same coin. This is why I get actively involved in recording projects and why I publish articles about those projects, the most recent of which appears on p.50. "Project K622" describes the making of a new recording of Mozart's Clarinet Concerto (work number 622 in the Köchel catalog of Mozart's compositions, hence the article's title), which is being released both on hybrid SACD and on 180gm vinyl. (You can buy both from our secure "Recordings" page.)
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John Atkinson Posted: Aug 01, 2004 Published: Mar 01, 1998 0 comments
"One of the worst-kept secrets in audio engineering is that what we hear does not always correlate with what we measure." So wrote the late Richard Heyser 30 years ago, as quoted in Time Delay Spectrometry, a 1987 anthology of his writings (footnote 1). What do we hear? Music heard live consists of a sound pressure that changes according to the logical demands of two things that have no physical reality: the way in which music is structured in time and pitch, and how that structure is ordered by the composer/musician. Heyser, one of the most perceptive audio engineers I've had the privilege to meet, repeatedly emphasized in his essays and papers that the reproduction of music is a multidimensional event.

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