John Atkinson

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John Atkinson Posted: Apr 23, 2004 Published: Jan 01, 1999 0 comments
One reason I have never felt the need to invest in a high-end home-theater system is that it is all too easy for me to go 'round to Tom Norton's house. As well as contributing the amplifier measurements and the all-too-rare component review for Stereophile, Tom is technical editor of our companion book, Stereophile Guide to Home Theater (footnote 1). As you might expect, he has access to video equipment that the rest of us can only dream about.
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John Atkinson Posted: Apr 04, 2004 Published: Jun 01, 1991 0 comments
Our Delta L-1011 emerged from the cloud split-seconds before its wheels touched the waterlogged ground. "How much lower does the cloud cover have to be before they divert us to another city?" I asked Tom Norton. "About an inch," came the phlegmatic reply. (Ex-F4 pilot TJN categorizes any landing you can walk away from as "good.") But at least we had reached Atlanta, after a saga of air-traffic control problems, weather delays, and missed connections. (Does anyone remember taking a flight that wasn't full, wasn't late, and wasn't sweaty and stressful? Wasn't deregulation supposed to improve service by increasing the choices available to travelers?)
John Atkinson Posted: Mar 14, 2004 Published: Oct 01, 1998 0 comments
"There, that's where you should put the microphone, 5' from the end of my bow."
John Atkinson Posted: Mar 14, 2004 Published: Apr 01, 1998 0 comments
It's a beautiful drive, considering you're on a freeway. You take I-25 north out of Albuquerque, Sandia Peak to your right and the Jemez Caldera and Mount Taylor dimly visible in the distance to your left. As you broach La Bajada hill south of Santa Fe, the Sangre de Cristo range—the "Blood of Christ Mountains" described by Paul Simon in "Hearts & Bones"—appears before your windshield. You take the Old Pecos Trail exit to the City Different, but before you reach town you bear to the left, then take another left opposite St. Vincent Hospital. There, in a cul-de-sac, you peer up at the street sign: "Stereophile Way," it says (footnote 1). "Not just a street, but a philosophy," I kidded Larry Archibald when the city told him that he could name the road where the magazine's headquarters would one day be situated.
John Atkinson Posted: Mar 14, 2004 Published: Mar 01, 2004 0 comments
"The Sonus Faber Cremona is the finest cabinet-built speaker I have heard for under $10,000/pair," wrote the usually reticent Sam Tellig in the January 2003 Stereophile. "Bravissimo...Molto, molto bene" he added to his paean of praise for the Italian speaker manufacturer's founder and chief engineer, Franco Serblin.
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John Atkinson Posted: Mar 07, 2004 Published: Mar 01, 2004 0 comments
One of my mentors, John Crabbe—my predecessor as editor of the English magazine Hi-Fi News—used to insist that a magazine's soul is its "Letters" column. If a magazine was able to publish a lively collection of readers' letters, said John, it would enjoy a lengthy life. Conversely, if its letters column was dull or nonexistent, then no matter how much advertising it had or how many readers it could boast, it was just a matter of time before it had the lid shut on it. In the 28 years since John told me this, I have not found an exception. The kicker, of course, is that there's no easy way of ensuring that a magazine has lively letters to publish.
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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 29, 2004 Published: Mar 01, 2004 0 comments
When Cantus's artistic coordinator (and Stereophile reader) Erick Lichte phoned me in the summer of 2000 about my recording this Minnesotan male-voice choir, it didn't occur to me that I was entering a long-term relationship. But just as sure as 16-bit digital is not sufficient for long-term musical satisfaction, my first Cantus CD led to a second, and now a third. (All available from this website). For Deep River, I traveled to Sioux Falls, South Dakota, where the city has spent millions of dollars to transform the downtown high school into a gloriously warm-sounding, state-of-the-art performing arts center.
John Atkinson Posted: Feb 15, 2004 Published: Feb 01, 2004 0 comments
Bob Reina has been doing more than his share of reviewing inexpensive speakers in the past couple of years. I thought it only fair to shoulder some of the load, therefore, by reviewing a small design that had sounded interesting when I heard it at a press preview, the Klipsch RB-15.
John Atkinson Posted: Feb 15, 2004 Published: Feb 01, 2004 0 comments
When I was first getting interested in "high fidelity," as we called it back in the 1960s, there was an audio dealer in Worthing, England called Bowers & Wilkins. Their advertisement in the February 1966 issue of Hi-Fi News features their annual sale, with a Quad Electrostatic Speaker priced at $l30 instead of the manufacturer's recommended $l37 (footnote 1), and offering other bargains, from ReVox, Quad, Rogers, Leak, and Armstrong. Conspicuous by their absence from the ad are Bowers & Wilkins speakers. The first reference to those I could find was in the August 1968 issue of what was then called The Gramophone, when race-car driver turned audio critic John Gilbert raved about the P2 Monitor. Designed by avid concertgoer John Bowers with Peter Hayward and featuring an EMI bass unit and a Celestion tweeter, the two-way P2 was priced at more than twice the Quad speaker, at $l159/pair.

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