J. Gordon Holt
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J. Gordon Holt Jun 09, 2007 Published: Apr 09, 1986 0 comments
Much of the descriptive terminology used in subjective reporting describes things we hear in live music, and expect—or, rather, hope—to hear from reproduced music, too. I'm referring to terms like width, depth, perspective, spectral balance, and tonal accuracy. If you read our reports, you know these terms as well as I do, and since they are (for most people) self-explanatory, I will devote no more time to them.
Historical, J. Gordon Holt
Larry Archibald, J. Gordon Holt Jun 01, 2007 Published: Apr 01, 1986 0 comments
The rumors have been flying, and his arrival is imminent—a couple weeks after you read this—so it's time our readers know: John Atkinson, for the last four years Editor of Britain's prestigious Hi-Fi News & Record Review, is joining the staff of Stereophile as Managing Editor and International Editor.
J. Gordon Holt Feb 03, 2007 Published: Sep 03, 1987 0 comments
This product is a pre-trol. What, you may well ask, is a "pre-trol?" Well, Threshold Corp. calls its FET-10 a preamplifier, but it isn't, really. In fact, it isn't an It at all; it's a Them. Only half of Them is a preamp, and you can buy each half separately. If that sounds a little confusing, maybe it's because some of the old, familiar language of audio is starting to lose its relevance.
J. Gordon Holt Feb 03, 2007 Published: Sep 03, 1987 0 comments
Klyne Audio Arts has an almost Zen-like approach to the design of its products. Like the best Japanese designs, Klyne's preamps are aesthetically pleasing in appearance, do exactly what they're supposed to, and their controls are not only where you would expect them to be, but have an almost sensually smooth action. Internal construction, too, is a work of art—the kind of design which, transferred to a tapestry, would grace the wall of any listening room. You have to see the insides of a Klyne preamp to appreciate how attractive-looking an audio component can be. But physical beauty is only one aspect of Stan Klyne's designs; of all the electronics manufacturers I know of, Klyne Audio Arts also makes products more adjustable than any others, so as to appeal to the needs of what I call compulsive tweaks.
J. Gordon Holt Dec 29, 2006 Published: Jan 29, 1986 0 comments
As I write this, I am recuperating from four days of frenzy at the 1986 Winter CES in Las Vegas, Nevada. I am also pondering why I was so unexcited by most of what I saw and heard of the high-end exhibits; high-end audio may have reached a developmental plateau of sorts.
J. Gordon Holt Dec 10, 2006 Published: Jan 10, 1988 0 comments
The Ortofon MC-2000 may just have been the most impractical cartridge to be unleashed upon the audio community for some years. With a high compliance (20cu) that made it ill-suited for most tonearms, it also had a preposterously low signal output of 50 microvolts, which gave new meaning to the terms hum and noise. Few MC preamps had enough gain to deliver adequate driving voltage to a system, and none of those that did had low enough noise to be usable with the 2000. If the problem wasn't hum, it was hiss; if hiss was acceptably low, there would be too much hum. At least Ortofon had the sense to be aware of the problem and to do something about it, in the form of their T-2000 step-up transformer, which is the only device I ever found that would allow the cartridge to be operated without a constant background of hum or hiss. Despite all this, I have used the MC-2000 as my reference cartridge for the last two years. Why? Because of all the cartridges I've tried, it is by far the most accurate.
J. Gordon Holt Nov 05, 2006 0 comments
There are certain manufacturers for whom every new product implies the promise of countless modifications, Usually a month or so apart, culminating inevitably in a version so far removed from the original that it must be assigned a new model designation—usually a letter suffix ranging from A, to D. By the time E is envisioned, another CE Show is approaching, so the decision is made to give the unit an exterior facelift and a brand-new model number. Presto! A new product for CES.
Interviews, J. Gordon Holt
J. Gordon Holt Oct 08, 2006 Published: Oct 08, 1987 0 comments
Bill Firebaugh's first product, the outrageous-looking Well-Tempered (tone) Arm, established him as one of audio's most innovative designers. At the 1985 Winter CES, he showed a prototype companion product—the Well-Tempered Turntable—and was producing production units by January 1987. He discusses here the WTT's unusual design features. (Readers should note that, since we have not yet tested the new turntable, this interview is not to be interpreted as an endorsement of the product.)
J. Gordon Holt Oct 08, 2006 Published: Jan 08, 1986 0 comments
Eleven years ago, Threshold Corporation entered the high-end audio market with the first amplifier ever to use sliding bias (footnote 1) in its output stages. Some 10 years later, Threshold spawned another innovation: their so-called Stasis circuitry, which yielded the S-series amplifiers. The SA-1 and its lower-powered sister SA-2 are the latest from Threshold, and are the first Threshold amps to abandon sliding bias for straight class-A operation. Both use the Stasis circuit.
J. Gordon Holt, Various Sep 09, 2006 Published: Apr 09, 1985 0 comments
Remember Rube Goldberg? He was a cartoonist during the late 1920s to early 1950s who specialized in devising the most outlandish and ingenious devices ever conceived by man, before or since. A Rube Goldberg mousetrap, for example, would occupy an entire small room. In taking the bait, the mouse would tip a balance beam, dropping a steel ball into a gutter, down which the ball would roll to strike a paddle whose spin would wind up a string that hoisted a weight into the air until it reached a trigger at the top, which would then release the weight to drop onto the unsuspecting mouse. Splat!
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