As We See It

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John Atkinson  |  Dec 27, 1988  |  0 comments
"Time to write another equipment report," thought the Great Reviewer, aware that the IRS would soon require another small donation to keep the country running on track. Deftly donning his Tom Wolfe vanilla suit, he sat at the antique desk acquired on one of his many all-expenses-paid research trips to Europe, patted the bust of H.L. Mencken that invariably stood by the word processor, ensured that his level of gonzo awareness was up to par, arranged his prejudices and biases in descending order of importance, checked that the requisite check was in the mail, coined a sufficient number of Maileresque factoids appropriate to the occasion, and dashed off 3000 words of pungently witty, passionately argued, convincingly objective, and deeply felt prose.
J. Gordon Holt  |  Apr 26, 2010  |  First Published: Jun 26, 1982  |  0 comments
Not too many years ago, high-fidelity movement was being hailed from all quarters (and many halves) as a revolution. In the sense that it took the country storm, and made billions of dollars for many entrepreneurs during heyday, it was indeed a revolution. But now the public has grown tired of high fidelity and is turning other electronic diversions—video, video games, and computering. And what, as of this summer of 1982, do we have to show for the high-fidelity revolution?
John Atkinson  |  Apr 24, 1996  |  0 comments
"There are two kinds of fools: One says, 'This is old and therefore good.' The other says, 'This is new and therefore better.'"Bob Katz
Michael Lavorgna  |  Dec 26, 2012  |  First Published: Jan 01, 2013  |  24 comments
To say that a digital source "sounds like analog" has always struck me as coming up short. The notion that one format sounds like another is not really sensible or even ideal. While I love listening to LPs, there are some physical attributes of vinyl that, ideally, you don't want to reproduce. You know what I'm talking about because, every chance they get, LP haters remind us about pops, ticks, skips, surface noise, inner-groove distortion, etc. So when we say that a digital source sounds like analog, what we're really saying is that it doesn't sound like digital.
Barry Willis  |  Nov 18, 2001  |  0 comments
Every once in a while, some mainstream journalist discovers the audiophile underground.
J. Gordon Holt  |  Dec 31, 2009  |  First Published: Oct 31, 1984  |  0 comments
When it comes to video, most audiophiles are insufferable snobs. These normally reasonable people, who are among the first to admit that great sound in a motion picture theater makes a great film much more enjoyable, nonetheless. scoff at the very idea of augmenting their own sound with images, or of trying to create the kind of audio-visual experience in their home that they routinely enjoy at the cinema. Doing that involves video, which they equate with TV, which they equate with LCD (footnote 1) dross. This is unfortunate, because visuals can enhance good sound, and good sound can do wonders for non-TV video programs like Hollywood motion pictures.
J. Gordon Holt  |  Aug 11, 2015  |  First 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.
John Atkinson  |  Nov 24, 1999  |  0 comments
Successful new prerecorded audio media emerge, on average, every two decades—one human generation. The LP made its debut in 1948, 21 years after the introduction of electrical recording ended the adolescence of the record industry and the acoustic 78rpm disc. This was almost coincidental with Jack Mullin's retrieval of analog tape technology from the wreckage of post-WWII Germany and its subsequent commercialization by Bing Crosby's Ampex company (footnote 1). The compact cassette made its appearance in 1963, followed almost 20 years later by the CD, in 1982. And now, as I mentioned in the October issue's "As We See It," we have Sony and Philips' Super Audio CD and the DVD Forum's DVD-Audio to contend with (not forgetting MP3 and the Internet).
John Marks  |  Feb 13, 2005  |  0 comments
"Most people really don't like music—they just like the way it sounds"
Jason Victor Serinus  |  Dec 13, 2016  |  9 comments
Not everything that can be counted counts, and not everything that counts can be counted.—William Bruce Cameron, Informal Sociology: A Casual Introduction to Sociological Thinking (1963)

I hear not the volumes of sound merely, I am moved by the exquisite meanings.—Walt Whitman, "That Music Always Round Me," from Leaves of Grass

These two statements, to me, express the core perspective shared by Stereophile's contributors. When I encountered both of them within a span of 30 days, they spoke so strongly that I felt impelled to hook up the biggest, baddest loudspeakers I could find and broadcast them to the world, without distortion. Failing in that quest, and having not yet attained the status of the Edward R. Murrows and Walter Cronkites of eras past, I share them here.

J. Gordon Holt  |  Apr 02, 2006  |  First Published: May 02, 1965  |  0 comments
Editor's Note: Those of us who cut our engineering teeth on tubes still remember the advent of the solid-state amplifier with mixed feelings. Yes, they were lighter and cheaper per watt than the thermionic hulks we loved so much, but they broke all the time (thanks to the germanium transistor) and sounded like—well, let J. Gordon Holt tell us what they sounded like in an "As We See It" article from Vol.1 No.10, first published in May 1965. We also develop the theme with a JGH review of an early transistorized amp, as well as a selection of readers' letters from the early days of Stereophile. Enjoy.John Atkinson
John Atkinson  |  Nov 13, 2009  |  0 comments
"Check it out." Music editor Robert Baird handed me a CD. "He's 70 years old, it's his 13th album, he got Don Was to produce it, and it's his best yet."
Peter W. Mitchell  |  Jul 29, 1997  |  First Published: Jul 29, 1993  |  1 comments
What is the angular separation of your loudspeakers as viewed from your favorite chair? Whatever your answer, it's wrong. Of course I don't mean that it's a factually incorrect answer, just that any single value of subtended angle cannot be ideal for all recordings.
Jon Iverson  |  Jan 16, 2005  |  First Published: Apr 16, 1997  |  0 comments
This is the story of the tiger wagging its tail. It is also the story of a tail trying to wag its tiger...
J. Gordon Holt  |  Aug 04, 2015  |  First 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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