As We See It

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John Atkinson  |  Jul 17, 2005  |  0 comments
On mornings when I can get up early enough after a late-night listening session, I take the last express bus from my Brooklyn suburb to Stereophile's Manhattan office. An inveterate people watcher, I notice that while my fellow travelers and I don't form a traditional queue at the bus stop, preferring instead to mill around in something that resembles a jelly donut, we still enter the bus in the order in which we arrived at the stop. The balance between individualism and social necessity is thus preserved.
Barry Willis  |  Jul 13, 2007  |  First Published: Jan 01, 1998  |  0 comments
Stadium rock is my idea of the inner circle of Hell. I hate crowds. I have zero interest in the rich and famous. And I've never been much of a Rolling Stones fan. Give me a choice, and I'll take Weslia Whitfield at the Plush Room 10 times out of 10: a cushy seat, some witty companions, a little Irving Berlin and Cole Porter. Heavenly.
John Atkinson  |  Feb 12, 2006  |  2180 comments
"BRIDGE WILL BE RAISED AT 1:45 PM," said the road sign. I looked at my watch. 1:35. I sighed and let my right foot become even more leaden.
Stephen Mejias  |  Sep 13, 2010  |  1 comments
The cover is cracked. It is time to rip it off, look directly at the inner workings, and begin to fix things for ourselves.—Matthew B. Crawford, Shop Class as Soulcraft: An Inquiry Into the Value of Work
Art Dudley  |  Mar 26, 2014  |  First Published: Apr 01, 2014  |  12 comments
"You know how to whistle, don't you, Steve?"—Lauren Bacall, To Have and Have Not, 1944

Yesterday, I played a minor role in a dustup on Facebook. It began when a fellow journalist posted a controversial quote from a veteran manufacturer known for generating same. The bait proved irresistible, and a long line of audio mavens, myself included, swam around the hook for an hour or so. The manufacturer himself also waded in, and before the fight was over, he'd made a show of demanding the home address of one of his antagonists, thus raising the manly specter of bodily harm. If there were any women in the audience, I'm sure they were impressed.

John Atkinson  |  May 09, 1997  |  First Published: May 09, 1996  |  0 comments
"Everyone I know used to sit in front of the stereo and listen to music...Now no one I know, except for us lunatics, listens to music the way one would watch a movie on TV."—from The Audiophile Network
Larry Archibald  |  Oct 29, 2008  |  First Published: Oct 29, 1989  |  0 comments
"Be like my friend Frank. He imagines that he's purchased certain products—right now he's imagining that he bought a pair of hard-to-get English speakers which he has read a review of but hasn't heard. This is ideal, since the speakers can sound better and better as Frank imagines more and more. When he tires of these speakers and gets excited about something else, he doesn't have to trade them in. He only needs to start imagining the next product." That was Sam Tellig's friend Frank, back in March of this year. No one could have said it better, but I have a followup.
J. Gordon Holt  |  Dec 04, 1971  |  First Published: Apr 01, 1973  |  0 comments
"As We See It" in the Stereophile issue dated Summer 1968 (actually published in 1970) noted the idealistic, glowing claims about how four-channel sound could put you right in the concert hail, but urged readers to wait before buying, to see whether quadrisound would indeed bring higher fidelity. We predicted it wouldn't—that whatever the potential of quadrisound (footnote 1), it would not be used to increase fidelity, but rather to play ring-around-the-rosy with music.
Peter W. Mitchell  |  Dec 21, 2008  |  First Published: Aug 02, 1990  |  0 comments
I had a wonderful chuckle while reading the reviews of the Finial Laser Turntable in the May 1990 issue of HFN/RR. Perhaps I should preface this by saying that, in the entire quarter-century since I became intensely involved in audio, I have always found the LP an unsatisfactory playback medium for music. As a regular concert-goer in Boston and an addict of WGBH-FM's simply miked, virtually unprocessed live broadcasts of BSO concerts direct from Symphony Hall, I never learned to ignore the many anti-musical distortions endemic to LPs—the ticks and pops, the inner-groove congestion and tracing distortion, the harsh mistracking of high-level climaxes and overcut grooves, the persistent static in dry winter air, the constant slight wow due to off-center spindle holes, the muddy bass due to resonances and feedback, the universal cutting engineer's practice of blending low bass into mono (which wipes out low-frequency hall ambience).
J. Gordon Holt  |  Feb 26, 2010  |  First Published: Mar 26, 1987  |  0 comments
Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
Wes Phillips  |  May 27, 2007  |  First Published: Jun 27, 1997  |  0 comments
In his impassioned "As We See It" in May (Vol.20 No.5, p.3), Robert Harley pleaded that the Compact Disc is actually quite a bit better than it sounds, and requested that audiophiles focus instead on the significant improvements wrought in digital sound since its inception. Bob's point—that picking on CD's shortcomings has become a ritual bloodsport within the High End—is well taken: witness my own catty swipe at it in the first sentence. The fact is that the glaring imperfections of the first generation of digital products are now mostly distant memories. Most of us do derive hours of musical pleasure from our CD players and CD collections.
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.
J. Gordon Holt  |  Sep 25, 2008  |  First Published: Jan 25, 1984  |  0 comments
If you are to believe all the promotions for the Compact Disc, simply buying a player will transport you instantly to sonic nirvana. No background noise! No distortion! Flat frequency response from 20 Hz to 20kHz, pIus or minus zilch! The most perfect sound that modern hightech can provide! But if CD sound is so perfect, what are so many people screaming bloody murder about? It seems that half the golden ears who hear it are smitten with hate at first hearing. The other half finds it the best thing since tax shelters.
Larry Archibald, J. Gordon Holt  |  Jan 02, 1995  |  First Published: Mar 02, 1982  |  0 comments
As of February, 1982, the ownership of this publication passed to other hands. In total despair about its precarious finances, JGH accepted with alacrity an offer by Larry Archibald (an occasional contributor in recent years) to purchase the magazine. This has now come to pass, and it is because of the resulting infusion of money that you are holding this issue in your hot little hands now instead of three months from now (and that is probably being a little optimistic about the way things were).
J. Gordon Holt  |  May 07, 2010  |  First Published: Apr 07, 1982  |  2 comments
There was a time, very recently in terms of human history, when high fidelity promised to free the music lover from the constraints of the concert hall and the local repertoire, allowing him to choose at his whim any orchestra in the world playing any work he desired under the baton of any conductor he preferred. "All the pleasure of concert-hall listening, in the comfort of your home," was the way one display advertisement painted this musical utopia which, only 20 years ago, seemed right around the corner.

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