John Atkinson

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John Atkinson Posted: Mar 28, 1991 0 comments
John Atkinson examines the role of myth and magic in high-end audio.
John Atkinson Thomas J. Norton Posted: Feb 01, 1991 0 comments
This must be the month I drew the right straw to review "loudspeakers with three-letter initials." Elsewhere in this issue I describe my experiences with a pair of JBLs. Everyone knows that JBL stands for "James B. Lansing," founder of that company. You do, don't you? But PSB? If you've been paying attention here, you probably remember that JGH reviewed one of their loudspeakers back in May 1988. If you haven't, well, listen up. PSB is named after Paul Barton and his wife Sue, who formed Canada-based PSB in 1971. (Paul is still their chief designer.) The company was unknown in the US until just a few years ago, and still has a lower profile here than, well, certainly that other three-letter company. But not for lack of trying. They have at least 10 models—at last count.
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John Atkinson Posted: Nov 24, 1990 0 comments
"Why do rhythms and melodies, which are composed of sound, resemble the feelings; while this is not the case for tastes, colors, or smells?"---Aristotle
John Atkinson Robert Harley Posted: Feb 28, 1990 0 comments
The end of two audiophiles' friendship:
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John Atkinson Posted: Jan 22, 1990 0 comments
"Hoom! Hoom-hoom! HOOM!"
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John Atkinson Posted: Dec 14, 1989 0 comments
"You'll wonder where the yellow went, when you brush your teeth with Pepsodent."
John Atkinson Richard Lehnert Denis Stevens Posted: Sep 03, 1989 0 comments
Why had a high-end hi-fi magazine felt the need to produce a classical LP when the thrust of real record companies in 1989 is almost exclusively toward CD and cassette? Why did the magazine's editors think they had a better chance than most experienced professional engineers in making a record with audiophile sound quality? Were they guilty of hubris in thinking that the many years between them spent practicing the profession of critic would qualify them as record producers?
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John Atkinson Posted: Aug 05, 1989 0 comments
"Test We Must," cried High Fidelity's erstwhile editor, Michael Riggs, in a January 1989 leader article condemning the growth of subjective testing. (See the sidebar for Peter Mitchell's obituary of HF magazine, now effectively merged with Stereo Review.) With the exception of loudspeakers, where it is still necessary to listen, he wrote, "laboratory testing (properly done) can tell us pretty much everything we need to know about the performance of a typical piece of electronics...We know what the important characteristics are, how to measure them, and how to interpret the results."
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John Atkinson Posted: Jun 05, 1989 0 comments
I have been reading a lot of late. Whether it is due to the reduced appeal of recorded music owing to the ever-decreasing shelves of LPs in our local specialty record store (the owner explains that he still wants to sell LPs; it's the record companies that make it increasingly harder for him to do so with punitive returns policies and deaf ears to back orders), or the fact that it's Spring, I don't know. But the fact remains that I have recently found myself devouring a shelf-full of titles sometimes only vaguely related—horrors!—to high fidelity. Stuart Chase's The Tyranny of Words, for example, first published in 1938 and a finer examination of what came to be called semantics you wouldn't want to find, should be essential reading for anyone involved in writing articles that are still intended to communicate some meaning.
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John Atkinson Posted: Mar 07, 1989 0 comments
It is inarguable that the quality of magnetically recorded sound has improved immeasurably in the last 101 years. 101 years? Yes, according to a fascinating account in the May 1988 issue of the Journal of the Audio Engineering Society, it was in 1888 that the Cincinnatti-based engineer Oberlin Smith experimented with recording information on steel wire by drawing it across the corner of an electromagnet around which a coil had been wound. Smith only carried out experiments without producing a practical recording system, and it wasn't until 1898 that the Dane, Valdemar Poulsen, was granted a German patent for a "Method for the reception of news, signals, and the like."

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