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J. Gordon Holt Posted: Nov 18, 2015 Published: Dec 01, 1969 17 comments
Four-channel stereo is here, but for how long? By the time this gets in print, it is extremely unlikely that any of our readers will have escaped being told that 4-channel stereo is here. "Two channels brought us direction," the announcements trumpet. "Now, four channels bring us dimension." Now, for the first time in the history of hi-fi, modern technology can bring us hall acoustics in stereo, to surround us with the sense of spaciousness that we hear in the concert hall.
J. Gordon Holt Posted: Nov 12, 2015 Published: Dec 01, 1966 0 comments
When we first heard rumors that Shure Brothers was about to unleash something called "trackability" on the audio world, our reaction was mainly one of indifference. We already had loudspeakers with listenability, tape recorders with portability, and amplifiers with stability and dependability. Trackability, we figured, was just another clever sales gimmick; a catchy word that the advertising department had thought up to describe what everyone wanted in a pickup.
J. Gordon Holt Posted: Oct 12, 2015 Published: Dec 01, 1979 4 comments
Long-time Stereophile readers May be dismayed by what appears to be our unfettered satisfaction with some of the recent crop of new components. Aren't we, after all, dedicated to the pursuit of perfection? Do we really feel that some products are all that close to it? The answer to both questions is "Yes."
J. Gordon Holt Posted: Sep 15, 2015 Published: Mar 01, 1971 9 comments
In the 1952 edition of the Radiotron Designer's Handbook, long recognized as the "bible" of the industry, the permissible level of IM distortion for a high-fidelity amplifier was given as 3%, with the alternate figure of 2% being cited as a "rather extreme" specification. We wonder what the author of that statement would think of today's solid-state amplifiers with their measured IM of 0.01% and less. And we wonder what he would think about the fact that these super-amplifiers still have audible distortion.
J. Gordon Holt Posted: Sep 15, 2015 Published: Dec 01, 1979 0 comments
Imagine if you can a power amplifier with the bass richness, midrange liquidity, and high-end accuracy of the best tube amplifiers, and the inner detail, transient attack, and bass solidity and range of the best solid-state amplifiers. If you can imagine that, you can visualize what this amplifier sounds like.
J. Gordon Holt Posted: Sep 10, 2015 Published: Dec 01, 1979 6 comments
The Shure Brothers have been making magnetic cartridges since the early 1950s (they had been exclusively microphone manufacturers prior to then), and their continuing R&D program has resulted in new, improved models every few years rather than every 6 months (as seems to be the rule these days). As a result, Shure has the appearance, to most audiophiles, of a stodgy, plodding, rather "establishment" manufacturer that can be trusted to make a solid, reliable product but nothing brilliantly innovative or—for that matter—nothing remarkably good either.
J. Gordon Holt Posted: Aug 24, 2015 Published: Dec 01, 1977 1 comments
Not the easiest tonearm to set up (let your dealer do it if you aren't overly skilled at such things), this English-designed and Japanese-made device is the best pivoted tonearm we have tested to date, and at a very reasonable price at that. Polk Audio is importing them and distributing to dealers, most of whom sell them for around $130 to $140, and some buyers have managed to purchase them directly from stores in England for as little as $80. We received two samples of this for testing, one directly from the US distributor, Polk Audio, the other from Natural Sound, a Nebraska dealer and (naturally) one of our advertisers. Suffice it to say that both samples were identical in every perceptible manner.
J. Gordon Holt Posted: Aug 11, 2015 Published: Jul 01, 1971 19 comments
Until about nine months ago, in the fall of 1970, FM radio station WFLN, Philadelphia, was just another one of that dying breed: the classical FM station. Like its counterparts in the few remaining classical-radio cities, it provides the major part of the high-fidelity listener's radio diet, and also like most similar classical stations, its fidelity was nothing to brag about.
J. Gordon Holt Posted: Aug 11, 2015 Published: Dec 01, 1977 7 comments
This receiver includes a rather respectable little tuner, almost comparable to the Dyna FM-5 in performance, a 15Wpc power amplifier of passable quality, and a preamplifier section that in some ways gives some of the costliest preamps a run for their money.

If you don't live in a difficult receiving area or are trying to receive long-distance FM, the tuner should satisfy any perfectionist. It is far superior to the FM transmission quality in most US cities anyway. The power amplifier is better than any we have previously found driving the dinky little speakers in most compact systems, but it has neither the power nor the other attributes to replace any of the amplifiers currently in favor with perfectionists.

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J. Gordon Holt Posted: Aug 04, 2015 Published: May 01, 1974 1 comments
How would you feel after paying $2000 for super-stereo system, you learned that genuinely high-fidelity recordings of many excellent classical musical performances were not available to you? Could you excuse it with a shrug and the philosophical observation that nothing's perfect but things will get better as the state of the recording art improves? Okay then, what if you learned that truly high-fidelity recordings of these performances, that would sound very much like the real thing if reproduced through your super system, are available to millions of other people but not to you? Would you begin to feel just a little bit slighted, or maybe even irritated?


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