Historical

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Larry Archibald  |  Nov 17, 1999  |  0 comments
This is my final "Final Word." Although, combined with the announcement of J. Gordon Holt's resignation, this will undoubtedly cause rumors to swirl about Emap Petersen forcing all the old guys out, I assure you that my departure is of my own volition. It's a process that started back in 1997, when John Atkinson and I first talked about selling Stereophile, and for me it reaches its conclusion here.
Anthony H. Cordesman, Various  |  Mar 11, 1998  |  First Published: Feb 11, 1984  |  0 comments
High-quality, low-cost loudspeaker systems are not an everyday blessing. The Rogers LS3/5a has survived for more than a decade precisely because so few US manufacturers sought musical accuracy as distinguished from high output and powerful bass. The economics of loudspeaker manufacture also don't lend themselves to economy. The cost of woodwork is driving the price of speakers up almost as fast as the cost of sheet-metal work is escalating the price of electronics.
Larry Archibald, Doug Sax  |  Dec 23, 1997  |  First Published: Nov 23, 1983  |  0 comments
Larry Archibald on CD:
This article on Compact Discs and CD players is by Doug Sax, president of Sheffield Records and a longtime opponent of digital recording. J. Gordon Holt offers a response elsewhere in this issue, in which he advises readers to buy a Compact Disc player as soon as they can afford it. Gordon in general hails the Compact Disc as the greatest thing to hit audio since the stereophonic LP.
Keith Yates  |  Nov 27, 1997  |  First Published: Nov 27, 1988  |  0 comments
Five or six years ago I wrote a breezy, introductory-type piece on mid-fi "knob-surfing," winding up with a reprise on the old line that the number of the knobs, lights, and tattoos on the faceplate is often inversely proportional to the quality behind them.
J. Gordon Holt  |  May 29, 1997  |  First Published: May 29, 1988  |  0 comments
During the late 1950s, when high fidelity exploded into a multimillion-dollar industry, product advertisements bragged about bringing the orchestra into your living room. Apparently, no one realized what an absurd concept it was, but there are still many people today who believe that's what audio is all about. It isn't. There is no way a real orchestra could fit into the average living room, and if it could, we would not want to be around when it played. Sound levels of 115dB are just too loud for most sane people, and that's what a full orchestral fortissimo can produce in a small room.
J. Gordon Holt  |  Feb 04, 1997  |  First Published: Feb 01, 1963  |  0 comments
Dateline: late August 1989. The scene: my palatial office in the Stereophile Tower. Present were the magazine's official technowizard Robert Harley, Circulation Kahuna Michael Harvey, and myself. The subject under discussion was the program for the Stereophile Test CD, launched in this issue, and Bob had been dazzling Michael and myself with a description of the sophisticated signal-processing power offered by the Digidesign Sound Tools music editing system with which he had outfitted his Macintosh IIX computer. (He had to fit it with a 600-megabyte hard-disk drive!) "It'll even do edits as crossfades as well as butt joins," enthused Bob. "Let me tell you about the crossfade I once did when editing a drum solo for a CD master that lasted ten seconds..."
Steven Stone  |  Jan 22, 1997  |  0 comments
September 1997 saw the 35th anniversary of Stereophile magazine, founded by J. Gordon Holt back in 1962. If any interview needs no introduction, this is it. My interview with Gordon was conducted around the kitchen table in Gordon's Boulder, Colorado home over a couple of cold beers. It seemed appropriate to start at the very beginning...
J. Gordon Holt: I don't remember when that was.
J. Gordon Holt  |  Nov 25, 1996  |  First Published: Dec 01, 1970  |  0 comments
An equipment reviewer for one of the consumer hi-fi magazines once confided to a manufacturer that he found it hard to like electrostatics because of the kind of people who usually like electrostatics. His implication—that certain kinds of people gravitate towards certain kinds of sound—is an interesting thought, and one that might bear some further investigation. But there is no questioning the fact that electrostatic speakers in general do have a particular kind of sound, that might be characterized as "polite."
Lewis Lipnick  |  Dec 03, 1995  |  First Published: Dec 03, 1987  |  1 comments
Since the introduction of the original B&W 801 monitor loudspeaker in 1980, it has been adopted as a reference by several recording studios around the world, Over the past five years, I have seen 801s present in just about every recording session with which I have been artistically involved. While the original 801 monitor had its strong points, I was never satisfied with the detached and muddy-sounding bass, discontinuous driver balance, and low sensitivity. Unless this speaker was driven by an enormous solid-state power amplifier, with an elevated high-frequency response, the tubby and slow bass response often obliterated any detail in the two bottom octaves of musical material.
J. Gordon Holt, Various  |  Nov 29, 1995  |  First Published: Nov 29, 1987  |  0 comments
Following the introduction of their very expensive, tube/FET hybrid SP11 preamplifier, there were rumors that Audio Research was working on a hybrid tube/transistor preamplifier targeted to cost less than $2000. The rumors were confirmed when ARC showed a black-and-white photo of the SP9 at the 1987 Winter CES. Obviously, like all magazines, we were impatient to receive a review sample, but the first review of the SP9 actually appeared in the summer '87 issue of Peter Moncrieff's IAR Hotline. Peter's review was almost intemperately enthusiastic, comparing the SP9 positively with early samples of the SP11 and suggesting that its sound quality was considerably better than would be expected from its $1695 asking price. Naturally, we were anticipating good things when our review sample arrived in Santa Fe in late July.
John Atkinson, Various  |  Nov 25, 1995  |  First Published: Nov 25, 1986  |  0 comments
The quest for a full-range electrostatic loudspeaker has occupied many engineers' minds for many years. The problems are manifold: large physical size (which can lead to room placement problems and poor dispersion), the difficulty of achieving high sound pressure levels, the need for a potentially sound-degrading step-up transformer, and the unsuitability for production-line manufacture. Even so, the potential rewards are so great that one can understand why loudspeaker designers keep on attempting the apparently impossible. Epoch-making models do appear at infrequent intervals, keeping the flame burning since the appearance of the original Quad in 1955: Acoustat, Sound Lab, and Beveridge in the US, Stax in Japan, Audiostatic in Holland, Quad, of course, in England, and now MartinLogan.
J. Gordon Holt  |  Nov 07, 1995  |  First Published: Nov 07, 1971  |  5 comments
The Bose 901 has created more of a stir in audio circles than any other loudspeaker we can think of, with the possible exception of the original Acoustic Research system. Much of the 901's popularity is attributable to Julian Hirsch's rave report in Stereo Review, and there is no doubt but that Amar Bose's compellingly convincing ads had their effect, too. But these things alone could hardly account for the 901's popularity.
John Atkinson  |  Oct 01, 1995  |  First Published: Oct 01, 1986  |  0 comments
"A thing divine—for nothing natural I ever saw so noble."
J. Gordon Holt, Various  |  Sep 23, 1995  |  First Published: Sep 23, 1983  |  0 comments
Warning to Purists: Despite certain qualities about the ESL-63 speakers which you will probably like, Quad equipment is not designed primarily for audiophiles, but for serious-music (call that "classical") listeners who play records more for musical enjoyment than for the sound. Quad's loudspeakers do not reproduce very deep bass and will not play at aurally traumatizing volume levels, and Quad's preamplifier is compromised through the addition of tone controls and filters, all for the purpose of making old, mediocre, and/or worn recordings sound as listenable as possible.
John Atkinson  |  Sep 05, 1995  |  First Published: Sep 05, 1988  |  0 comments
"Who Stole The Bass?" asked Anthony H. Cordesman, writing about minimonitors in the April/May 1987 Stereophile (Vol.10 No.3). And for the designer of a box loudspeaker, the fundamental design decision, at any price level, is how much bass extension to aim for. It will always be possible to design a speaker with extension down to 20Hz, but will the result be musically and commercially successful? Will the designer end up with a speaker hypertrophied in that one area at the expense of every other? Will, indeed, the result be feasible technically? For example, for a given cabinet volume, gains in low-frequency extension have to be balanced against corresponding drops in sensitivity, and it is quite possible that to go for 20Hz extension will result in a 60dB/W/m sensitivity, equating with a speaker that only plays extremely quietly, and thus of no use to anyone.

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