As We See It

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J. Gordon Holt  |  Jan 04, 2010  |  First Published: Jun 04, 1986  |  0 comments
Although inclined to mood swings bordering on the manic-depressive, I am generally a very patient, tolerant person, willing to accept and overlook the foibles of those less perfect than myself. But even my incredible equanimity has its limits, beyond which the milk of my human kindness curdles, becoming as lumpy as last month's yogurt.
John Atkinson  |  Oct 06, 2002  |  0 comments
"Ever wondered how the snowplow driver gets to work?"—Doyle Dane Bernbach TV ad for Volkswagen, 1963
J. Gordon Holt  |  Nov 30, 1971  |  First Published: Oct 01, 1972  |  2 comments
Alicia Holt, aged 18 months, devours her father's magazine

After much searching of soul and of bank account, we have reached an earth-shattering decision. The Stereophile is going to start taking ads.

Steve Guttenberg  |  Aug 28, 2013  |  First Published: Sep 01, 2013  |  33 comments
No one ever had to pay for recorded music—it was always "free" on the radio—and the home taping of LPs, the copying of cassettes, and, later, burning CDs made buying music optional. Then Napster and other file-sharing sites kicked it up a notch and made it very easy to assemble a 10,000-song collection without spending a dime. Now, Spotify, BitTorrent, SoundCloud, MOG, and YouTube make music instantly accessible on demand. It raises the question: Will music lovers continue to buy music? Paying for recorded music is now, more than ever, a voluntary act.
John Atkinson  |  Aug 17, 2003  |  0 comments
Perhaps it's the air in San Francisco, or more likely the fact that exhibitors and attendees were equally upbeat, but I came back from Home Entertainment 2003, held at the grand old Westin-St. Francis Hotel days before I write this month's column, jazzed. I was one of 15,123 consumer, international press, and trade attendees, according to the official stats, and we were treated to more than 100 exhibit rooms showing and demonstrating 225 brands of audio and home-theater gear. Stereophile's full report on what we saw and heard at the Show will appear in our September and October issues, while our web coverage can be found starting here(footnote 1).
John Atkinson  |  Nov 14, 2007  |  First Published: Jun 01, 1996  |  0 comments
"Rave on down through the corridors,
"Rave on words on printed page!"
—Van Morrison, "Rave On John Donne"
Art Dudley  |  Aug 28, 2012  |  First Published: Sep 01, 2012  |  28 comments
In the old days, when audio-show reports routinely appeared in the print edition of Stereophile, life was easier. I spent my show days visiting exhibitors and listening to new gear, but I decorated those days with record shopping, dining out, and staying up late to visit with friends in the industry. And because hard-copy deadlines always seemed to be at least a few days away, I would wait until I'd returned home before doing any actual writing.
Art Dudley  |  Nov 30, 2013  |  First Published: Dec 01, 2013  |  13 comments
It began innocently enough. In June, Slate.com published a sampling from an exhibit by the photographer Kai Schaefer, in which classic LPs of different eras were partnered with the similarly classic record players on which they might have been played: Tea for the Tillerman on a Dual 1219, Kind of Blue on a Rek-O-Kut Rondine, Sgt. Pepper's on a Thorens TD 124—you get the idea. The photos worked as cultural documents, as good-natured kitsch, as surprisingly beautiful and compelling industrial art. I was thoroughly charmed.
J. Gordon Holt  |  Jan 12, 1985  |  0 comments
A number of recent letters have accused us of snobbishness and elitism because we devote so much space to reports about components that "common folk" can't afford. We are "snobbish" because we seem to look down on anything less perfect than a Wilson WAMM speaker system or an Audio Research SP-10 preamplifier. And we are "elitist" because we seem to show little interest in any components which fall short of state of the art. Far from being chastened by these letters, I am proud, to declare that they are right on target.
Chip Stern  |  Jul 16, 2000  |  0 comments
As often as not, it ain't the heat—it's the stupidity. When confronted by the smattering of self-referential dilettantes, acrimonious Internut wannabes, and obsessive-compulsive types who suck the air out of our aural fun-house, I find myself overcome with the desire to program my phaser for CLIP.
John Atkinson  |  Jan 30, 2002  |  0 comments
Trees. All I could see from Route 44 was trees. Many, many trees. How many trees? Exactly 251.1 million maples, hickories, pines, hemlocks, ashes, and oaks of all colors, with trunks 5" or greater in diameter, according to an online survey I later found on the Web. Once you get away from I-95 and the coast, Connecticut seems to be one large forest, its towns peeking out from barely adequate clearings. And not just "seems"—the same online survey says that 57% of the Constitution State's 3,205,760 acres are officially classified as "forest."
John Atkinson  |  Jan 22, 1990  |  0 comments
"Hoom! Hoom-hoom! HOOM!"
John Marks  |  Dec 10, 2010  |  4 comments

There is something about the performance of music that is in the nature of a spectator sport. By this I do not mean big-arena stagecraft and lights and fireworks and dance routines. I mean the actual making of the music.

To see Eric Johnson's fingers flying over his Fender Stratocaster as he hits "Cliffs of Dover" out of the park one more time is to enjoy something that is every bit as much an athletic performance and a spectator sport as baseball is. There is a thrill to watching people do difficult things exceptionally well, things that most of us can only take random sidelong swipes at.

John Atkinson  |  Nov 08, 2004  |  First Published: Nov 01, 2004  |  0 comments
"Bugger!" A Pennsylvania state trooper had stepped out from behind the overpass on the Turnpike and was aiming his radar gun straight at me. I reflexively jammed on the anchors, which was a) pointless and b) downright dangerous, considering I was in the middle of a phalanx of cars and trucks all cruising 5-10mph over the speed limit. But what can you do?
John Atkinson  |  Jul 07, 1994  |  0 comments
In this space last January, I enthused about the sound of linear 20-bit digital recordings which, I felt, preserve the quality of a live microphone feed. "I have heard the future of audio—and it's digital!" I proclaimed, which led at least a couple of readers to assume I had gone deaf. Putting to one side the question of my hearing acuity, 20-bit technology has been rapidly adopted in the professional world as the standard for mastering. The remaining debate concerns how to best preserve what those 20 bits offer once they've been squeezed down to the 16 that CD can store. Sony's Super Bit Mapping algorithm and Harmonia Mundi Acustica's redithering device have been joined by new black boxes from Apogee Electronics, Lexicon, and Meridian; it appears likely that, in next to no time at all, all CD releases will be offering close to 20-bit resolution—at least in the upper midrange, where the ear is most sensitive.

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