Sort By: Post Date | Title | Publish Date
J. Gordon Holt Posted: Jul 14, 2015 Published: Dec 01, 1973 11 comments
A recent experience with two excellent loudspeaker systems and two of the top power amplifiers raised a question that has been cropping up more and more frequently these days: When one component sounds more toppish or more bassy than another, which one is really flat and which isn't?

The question arose this time in connection with some listening tests on a pair of FMI 80 speakers and a pair of IMF Monitor III speakers, using Audio Research Dual 75 and Crown DC-300A power amplifiers.

J. Gordon Holt Posted: Jul 14, 2015 Published: Mar 01, 1982 5 comments
82award.250pr.jpgElgar: Orchestral Works
Falstaff, The Sanguine Fan, Fantasia and Fugue in c (transcribed from J.S. Bach), excerpt from The Starlight Express
London Philharmonic Orchestra, Sir Adrian Boult
Mobile Fidelity Sound Lab 2-501 (half-speed–mastered LP, pressed in Japan, 1981). Originally released as HMV ASD 2970 (LP, 1974). Reissued as EMI CDM 7 63133 2 (CD, 1989). Christopher Bishop, prod.; Christopher Parker, Stuart Eltham, engs.

We have never before bestowed an award on anyone for anything. We felt obliged to do it on Mobile Fidelity for their remastering of the EMI Elgar Falstaff recording because it is the first time to our knowledge that a single classical release has combined a performance and a recording which are both good enough that neither need be done again. Our congratulations to Mobile Fidelity's Gary Giorgi. Now, let's have some more, from Mobile Fidelity or any other source. We have more awards to hand out when and if.—J. Gordon Holt

J. Gordon Holt Posted: Jul 08, 2015 Published: Oct 01, 1974 5 comments
Some years ago, we attended a hi-fi show in New York City where one of the exhibitors was RCA Victor. Their presence there would have been forgotten were it not for the fact that their exhibit, featuring their own discs played on their own line of phonographs, was producing some of the filthiest sound at the entire show. And that, in the proverbial nutshell, is why you never see reports in Stereophile on equipment made by RCA, Philco or General Electric.
J. Gordon Holt Posted: Jul 08, 2015 Published: Apr 01, 1982 1 comments
482rotm.promo250.jpgWilliams: Suites from Star Wars and Close Encounters of the Third Kind
Los Angeles Philharmonic orchestra, Zubin Mehta.
Mobile Fidelity MFSL-C.008 (cassette).

Originally released on London Records, then re-released with better sound on a Mobile Fidelity disc (now a cutout), these are stunning performances of these popular film scores, rivaling the composer's own performances of them. (Composers aren't always the best conductors of their own music, but John Williams is one who is.)

Sonically, this is simply a tour de force: Without a doubt the best commercially made cassette I've ever heard (and I've heard a lot of them). Last month, I expressed some doubt that the high end on any cassette could rival that of a half-speed LP and, indeed, there is a softening at the top on this cassette, when compared with the Mobile Fidelity disc. But the truth of the matter is that the cassette's high end is substantially more natural than that from the disc, which was one of Mobile Fidelity's first and had a slightly steely edge to it.

J. Gordon Holt Posted: Jun 30, 2015 Published: May 01, 1982 2 comments
666shefdrum.jpgThe Sheffield Drum Record
Improvisations by Jim Keltner and Ron Tutt (drums)
Sheffield LAB-14 (LP) (1981). Reissued as FIM DXD 001 (CD) (2010). Bill Schnee, Doug Sax, prods.; Lincoln Mayorga, exec. prod.; Steve Haselton, Bill Schnee, engs. TT: 13:49.

There was a time when drum records were as common as records of steam locomotives and thunderstorms. It has been so long since anyone has tackled any of them that a lot of technology has gone over the dam, but they are precisely the kind of program material which illuminate the state of the audio art like nothing else. Thus, Sheffield's Drum Record emerges as a landmark—a technological tour de force that should discourage anyone else from issuing a similar disc until the state of the art advances by a few more years.

J. Gordon Holt Posted: Jun 16, 2015 Published: Aug 01, 1975 6 comments
The summer of 1975 will be remembered by us, with no fondness whatsoever, as The Time the Roof Fell In. Or the Murphy Months, or the Period of the Plague Upon Our House.

Ye Editor can recall from the days of WWII hearing and reading about the depredations of some mischievous sprites called Gremlins, who would cause aircraft hatchcovers to jam and control cables to get hung up at the worst possible moment, but I don't think I ever really did believe in Gremlins. I think I sensed somehow that the mishaps attributed to their malevolent machinations were too capricious to be the work of thinking, calculating little spirits. But I was not clever enough to put my finger on what was going on. That had to wait for a gentleman named something-or-other Murphy, who was (to my knowledge) the first person to put a tag on it, and to formulate a basic law about it. The tag was "the perversity of inanimate objects," and the law was "If anything can possibly go wrong, it will."

J. Gordon Holt Posted: Jun 11, 2015 Published: Sep 01, 1983 2 comments
The Model 34 preamplifier is the component from English manufacturer Quad that will disenchant perfectionists, partly because of its obvious pandering to connoisseurs of old and sometimes lousy-sounding records, and partly because of its sound.

This solid-state design is supplied with a built-in moving-magnet cartridge preamplifier, and a moving-coil preamp is included with it for (easy) installation by the user if desired. (Remove two screws, pull out the old module, plug in the new one and replace the screws. The job takes about 3 minutes.) The MC preamp supplied is for 20 microvolt-output cartridges—contrary to the instruction booklet's statement that the supplied one is the 100µV version. Modules having a rated input level of 100 or 400µV are available as extra-cost options.

J. Gordon Holt Posted: May 28, 2015 Published: Aug 01, 1976 3 comments
Editor's Note: In Stereophile's second decade of publication, things were starting to unravel, with long gaps between each issue. There were just seven issues published between January 1974 and January 1978. The late Harry Pearson has gone on record that he founded The Absolute Sound in 1973 part because he was tired of waiting for the next issue of Stereophile to reach his mailbox. In this "As We See It" essay from the "Surface Noise" issue in August 1976, founder J. Gordon Holt owns up to it appearing 8 months late!
J. Gordon Holt Posted: May 14, 2015 Published: Sep 01, 1975 5 comments
While we will not pretend for a moment that the millennium of high fidelity has arrived, we are finally having to face up to a fact that has been staring us in the face and nudging us in the ribs increasingly rudely of late: The state of the art of sound reproduction has gotten to be pretty damned sophisticated. Perfection is just as unattainable as it was almost 100 years ago when Thomas Edison was diddling with different diaphragm materials on his phonograph because some sounded better than others.
J. Gordon Holt Posted: May 14, 2015 Published: Mar 01, 1977 0 comments
We cannot recall when any new products have generated as much of a stir among perfectionists as the new solid-state equipment from Audio Research. Preceded by rumors of "a new kind of amplifying device—a cross between a tube and a transistor"—the announcement of ARC's new power amp and SP-4 preamplifier elicited very mixed reactions from loyal ARC customers, some of whom gleefully anticipated a virtual revolution in audio electronics, others of whom felt betrayed by the company which, having originally convinced them that "Tubes Are Better," suddenly seemed to be doing an about-face and espousing the views of the Enemy—the "Soiled-State"—forces.


Enter your username.
Enter the password that accompanies your username.