News

Want to start an argument on one of the audio newsgroups? Just mention ABX. Doesn't matter if you're for it, against it, or just curious about what it is---you'll start a fire that might take weeks to burn out. But before audio newsgroups even existed, J. Gordon Holt was probing the usefulness of the ABX Comparator in an "As We See It" column from 1982, "The">http://www.stereophile.com//asweseeit/121/">The Truth Should Out." His thoughts might surprise you.

Wes Phillips writes, "I catch John's eye and wonder if he's pondering the same question I am: What were we thinking?" In addition to trying to push forward the limits of getting great sound onto tape, Stereophile's release of Rhapsody In Blue would offer the public a groundbreaking arrangement of George Gershwin's most popular orchestral work. In "The">http://www.stereophile.com//features/124/">The Rhapsody Project," Hyperion Knight and John Atkinson join Wes in chronicling their perspectives on the processes leading to this landmark recording.

Winter had just touched down in Santa Fe two days before the recording sessions were to begin, leading Wes Phillips to wonder if the damp air would wreak havoc with tuning. But he needn't have worried, writing that violinist Ida Levin "played with such intense concentration that sometimes she seemed about to levitate off the floor as she chased a melodic line into the ether." In Duet:">http://www.stereophile.com//features/125/">Duet: And Two to Carry Your Soul Away, Ida Levin and John Atkinson join Wes Phillips in chronicling the recording from both musical and technical perspectives.

While recording the Encore CD for Stereophile, John Atkinson had to decide: "Should I add some artificial reverberation?" After much gnashing of teeth, he plowed ahead. Read about the process in "Encore,&quot">http://www.stereophile.com//features/129/">Encore," an in-depth look at the recording techniques, the artists, and the music.

Tonal accuracy vs. soundstage? "Achieving an optimum balance between the two philosophical extremes of recording is where much of the art lies. It also begs the question, of course, of why it's impossible to have both: a recording with a virtual-reality sense of imaging that also captures all the sound without any coloration." While recording the Sonata CD for Stereophile, John Atkinson wrestles with every recording engineer's dilemma. Read about the struggle to capture Robert Silverman performing Liszt's monumental B-Minor Piano Sonata and the ultimate solution in "Fate">http://www.stereophile.com//features/131/">Fate, I Defy You," added this week to the archives.

It's no secret that audio publications around the world have been shrinking or disappearing of late. John Atkinson writes in his September 1999 "As We See It" that although the trend has certainly affected Stereophile's girth, steps have been taken to fatten the audiophile content of every issue. Read his analysis of the situation in "Closer">http://www.stereophile.com//asweseeit/135/">"Closer Together Covers?"

Flat frequency reponse in an audio component is good, right? Well, maybe not always, explains J. Gordon Holt in Down">http://www.stereophile.com//asweseeit/138/">Down With Flat! JGH: "Many times in past years I have been impressed by the incredible flatness of the measured high-end response of some speakers. . . . In every such case, I have been equally amazed at how positively awful those loudspeakers sounded—so tipped-up at the high end that I could not enjoy listening to them."