J. Gordon Holt

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J. Gordon Holt  |  Apr 10, 2014  |  First Published: Dec 01, 1985  |  5 comments
Those of our readers who are still anti-CD are going to be offended by what I am about to say. Partly because they do not want it to be true, but mainly because it is. I shall utter the heresy anyway: the Compact Disc is, right now, doing more for the cause of high-end audio than anything that has ever come along before!

There, I've said it. Now I shall explain it.

J. Gordon Holt  |  May 28, 2015  |  First Published: Aug 01, 1976  |  3 comments
Editor's Note: In Stereophile's second decade of publication, things were starting to unravel, with long gaps between each issue. There were just seven issues published between January 1974 and January 1978. The late Harry Pearson has gone on record that he founded The Absolute Sound in 1973 part because he was tired of waiting for the next issue of Stereophile to reach his mailbox. In this "As We See It" essay from the "Surface Noise" issue in August 1976, founder J. Gordon Holt owns up to it appearing 8 months late!
Steve Guttenberg, J. Gordon Holt  |  Jan 03, 1996  |  0 comments
"Without content, television is nothing more than lights in a box."
---Edward R. Murrow.
J. Gordon Holt, John Atkinson  |  Dec 07, 2016  |  First Published: Jun 01, 1988  |  1 comments
888maggie.promo300.jpgNow there's a Magneplanar speaker to fill the price gap between the $2000 MGIIIa and the $1225 MGIIc. The '2.5/R is priced almost exactly midway between them, which explains the unusual model number.

Like all the other single-panel Magneplanars, these are attractive enough in appearance to be surprisingly unobtrusive in the room, despite their imposing 6' height. Apart from the wooden endcheeks, they are covered with fabric grille all the way around, which could be a cosmetic liability as well as an asset: Domestic cats love to climb up fabric stretched tightly over wood (as at the bases of these) and, given the opportunity, will have these speakers in shreds in no time. Magnepan recommends spray-on cat repellent; I have to tell them that some cats don't seem to mind its odor as much as most people do.

J. Gordon Holt  |  Jan 09, 2006  |  First Published: Jun 09, 1975  |  0 comments
The Magnep1anar Tympani I that is the subject of this report is already an obsolete model, having been superseded by the Tympanis IA, II, and III that were unveiled at the CE Show in Chicago this past June. Since many of our readers already own Tympani Is, and dealer stocks of them are being sold at a substantial price reduction, the report should still be of interest. We will publish follow-up reports on the newer models as soon as they become available for testing.
J. Gordon Holt  |  Sep 17, 2014  |  First Published: Jan 01, 1984  |  10 comments
We wrote a long, rather unkind report on the HQD, pointing out that, if that was typical of the way it was supposed to sound (And why not, after Mr. Levinson had installed and tweaked it?), then it had to be the most expensive bomb ever to be made available for civilian use. Mr. Levinson responded with a phone call during which he:

1) Told us we had not heard it at its best, but refused to address himself to our specific criticisms;

2) Claimed that many practicing professional musicians felt the HQD to be "extremely realistic";

3) Informed us that, since he sold very few HQD systems and would soon be discontinuing them anyway because Quad had ceased making those speakers, the "sensible" thing to do would be to kill the report; and

4) Mentioned, just in passing of course, that he was currently writing a feature article for Time on the subject of "underground" audio magazines.

J. Gordon Holt  |  Jul 06, 2009  |  First Published: Aug 06, 1986  |  0 comments
Before launching into Stereophile's first-ever report on a Mark Levinson product, an important point needs to be clarified. Although Mark Levinson products were originally made by Mark Levinson, they are no longer. Au contraire, Mark Levinson products are now being made by Madrigal, Ltd., which bought Mark Levinson Audio Systems' assets and trademark two years ago. Mark Levinson's products, as distinguished from Mark Levinson products, are now being manufactured by a company called Cello. But the subject of this report, the Mark Levinson ML-7A preamplifier, is a product of Madrigal, Ltd., not of Cello. Now that I've made that all perfectly clear, we may proceed.
J. Gordon Holt  |  Sep 10, 2005  |  First Published: Mar 10, 1984  |  0 comments
Most Stereophile readers are aware by now of why the full-range electrostatic should, in theory, be the ideal transducer. (If you aren't aware, see the accompanying sidebar.) Acoustat was the first manufacturer to design a full-range electrostatic that was so indestructible it came with a lifetime warranty. (MartinLogan is now offering a three-year warranty on their speakers, and is considering going to a lifetime warranty). But Acoustat was never able to solve another problem that has plagued all flat-panel speakers: treble beaming.
J. Gordon Holt  |  May 07, 2010  |  First Published: Sep 07, 1982  |  0 comments
Now that audio technology seems to be on the verge of being able to do anything asked of it, it seems only fitting to wonder about what we should be asking it to do. We probably all agree that high fidelity should yield a felicitous reproduction of music, but felicitous to what? Should a system give an accurate replica of what is on the disc, or of the original musical sounds?
J. Gordon Holt, Various  |  Sep 04, 2005  |  First Published: Feb 04, 1985  |  0 comments
Well, it was inevitable. Prior to the MCD, every CD player had been a product of a major Japanese or European manufacturer, and we all know what kind of audio electronics "major" manufacturers usually design: adequate, but rarely much better. The MCD is the first player from a small, perfectionist-oriented firm, and an English one at that (Boothroyd-Stuart).
J. Gordon Holt  |  May 13, 2015  |  First Published: Mar 01, 1986  |  0 comments
Meridian's MCD CD player was perhaps the first audiophile-quality player to be introduced in the high-end market. I met with Bob Stuart of Meridian at the Winter Consumer Electronics Show in Las Vegas, in January, 1986 (footnote 1). My first question was about the name of the company he runs with industrial designer Alan Boothroyd:

J. Gordon Holt: Meridian in England is called Boothroyd Stuart, right?

Bob Stuart: Yes, the company is called Boothroyd Stuart, Limited, and the trademark is Meridian.

J. Gordon Holt  |  Dec 20, 2016  |  First Published: Apr 01, 1964  |  3 comments
Editor's Note: The editorial leader for the seventh issue of what was then called The Stereophile, cover-dated April 1964, was the first to introduce a recurring theme to the magazine's first 20 years of publication: an apology to subscribers for being late.—John Atkinson

Those of you who have a mind for dates may have noticed that this issue of The Stereophile is very, very late. This, the seventh issue, was supposed to have been a Merry Christmas November–December issue, but as things worked out, it doesn't even deserve the title of January–February issue. So, we think a few words of explanation are in order.

J. Gordon Holt  |  Feb 25, 2006  |  First Published: Aug 25, 1988  |  0 comments
For a subjective equipment reviewer, whose writings are based as much on impressions as on observations, it is very important to approach a product without personal bias. Of course, all of us lay claim to this ideal, and some of us even manage to maintain the appearance of impartiality most of the time. But just under the reviewer's veneer of urbane professionalism and deliberative restraint lies a darker force—a leering hobgoblin of anarchy and mischief which scoops usually forbidden adjectives from a well of calumny and offers them for the writer's consideration as the perfect word to describe what he is trying to express. It's an ever-present temptation to accept the suggestion, because every critic harbors a secret urge to be another Dorothy Parker, trashing mankind's most earnest endeavors with devastating bon mots that will endure long after the writer has ceased to. Most of the time, the reviewer is able to resist the temptation to broadside a product, but some products, and the people they represent, make this very difficult. In fact, sometimes it is impossible.
J. Gordon Holt  |  Sep 14, 2012  |  First Published: Apr 01, 1988  |  0 comments
I was so impressed by the Nelson-Reed 8-04/B loudspeaker's low-end range that I seriously doubted the add-on subwoofers could add enough of significance to be cost-effective.

I was wrong.

Two of the subwoofers were provided, along with the necessary electronic crossover unit. Each 1204 unit contains four 12" woofers in a very solid sealed enclosure, with two facing to the front and two facing the rear. The electronic crossover has three controls, besides the AC power switch: a hardwire (footnote 1) bypass switch, a stereo/mono switch, and a subwoofer level control. In the stereo mode, the low frequencies are kept separate, left from right; in mono mode, they are blended together for feeding to a single subwoofer. I will not resurrect the question of whether or not it is important to maintain stereo separation into the LF range, except to echo N-R's observation that there is no LF separation on analog discs to begin with; the lows are mixed together, to limit vertical excursions of the cutting stylus that could cause it to rise above the disc surface or, worse, dig into the aluminum base of the master disc.

J. Gordon Holt  |  Aug 17, 2012  |  First Published: Apr 01, 1988  |  0 comments
According to designer Bill Reed, the Nelson-Reed 8-04/B was not originally intended to be an audiophile speaker system, but was instead designed as a high-quality monitor for the critical recording engineer who wanted to be able to walk from the studio into the control room and hear the same thing from his speakers that he heard "live." The fact that modern studio mike technique ensures that this could never happen is probably beside the point. The point is that reproducing the original power and dynamic range of live music is a formidable challenge, which practically no audiophile speakers have met successfully. On the other hand, so-called studio monitors, which can do that routinely, have tended to be highly colored and otherwise generally lousy in all areas of fidelity except output capability. The 8-04/B was an attempt to combine the strengths of both kinds of speaker, while avoiding their usual weaknesses.

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