As We See It

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Jason Victor Serinus Posted: May 16, 2017 15 comments
Balance is certainly a lovely concept, as well as a lofty ideal. But achieving an optimal sonic balance in a high-end audio system—whose final sound is determined, in part, by interactions among any number of components and that great bugaboo, the listening room—while maintaining some semblance of psychic equilibrium can be the hardest goal of all.
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Robert Schryer Posted: Apr 18, 2017 64 comments
Audiophilia is dead.

Actually, it retired to an exclusive country club in the sky—but as far as the enduring, salt-of-the-earth audio hobbyist is concerned, it may as well be dead. The reason is simple: The old audiophile paradigm used to be mostly about when we were going to get that top-shelf component we had our eye on; it was rarely an if proposition. That's because, if you were an average, determined audiophile, it wasn't prohibitively expensive to buy top-shelf equipment. That's what made our hobby so exciting back then: the idea that you could actually own the best sound around. Damn!

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Steve Guttenberg Posted: Mar 14, 2017 Published: Apr 01, 2017 6 comments
Do you remember your very first record? I started with the Hollywood Argyles' "Alley Oop" in 1960, and played that silly 45 on repeat until my mother begged me to stop. My tastes quickly evolved, thanks to WWRL AM radio's steady diet of tunes by Jackie Wilson, Bobby Bland, Etta James, and Gary U.S. Bonds. It didn't take me long to gather a sizable collection of singles, but I switched to LPs with Meet the Beatles! in 1964, and since then the craving for new sounds has never let up.
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Jason Victor Serinus Posted: Feb 14, 2017 17 comments
This year is not only one of fallout from the most divisive political campaigns of our time, but will also one of competing audio shows too close for comfort. Southern California will see dueling audio shows three months and 35 miles apart, and New York City and Washington, DC will host shows on consecutive weekends. While a proliferation of audio shows potentially presents plenty of opportunities for audiophiles to hear new gear, such conflicts ultimately limit which manufacturers can exhibit where, and can render some shows a poor value.
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John Atkinson Posted: Jan 17, 2017 28 comments
Last July and September I made two loudspeaker-related road trips: first to Rockport Technologies, in Maine, to audition their new Lyra; and then to high-end dealer-distributor GTT Audio, in deepest, darkest New Jersey, to audition YG Acoustics' new Sonja XV. Both speakers offer innovative, proprietary drive-units and heroic audio engineering, especially regarding their enclosures, which are constructed from aluminum. Both experiences took place in superbly well-designed and optimized listening rooms with front-end and amplification components that were beyond reproach. The sound quality offered by the Rockport and YGA speakers was simply superb, both stepping entirely out of the way to offer maximum communion with the music.
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Jason Victor Serinus Posted: 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.

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Robert Schryer Posted: Nov 15, 2016 10 comments
My friend was in dire straits. What had been rare occurrences of panic attacks—one every year or so—had turned into a full-blown panic disorder that made it impossible for him to enjoy peace of mind..

If you've never suffered a panic attack, the idea of one—of being, in the absence of any real threat, suddenly overwhelmed by fear—can seem inconceivably strange. Try to imagine fear flooding your mind with such fierce momentum that you struggle to catch your breath, so convincing is the sensation that everything is spinning horribly out of control. Once that happens and the fear has taken over, it doesn't matter if the threat is real or not.

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Steve Guttenberg Posted: Oct 19, 2016 6 comments
I'm at Dan D'Agostino's house listening to his triamped Apogee full-range ribbon speakers. It's 1985. His listening room is immense, easily 30' by 45', and we're rocking out to Led Zeppelin and Bonzo Dog Band records. The sound is light-years better than anything I've heard—dynamic as hell, beyond vivid, and the soundstage has infinite depth—and Dan's obviously loving that I'm blown away by his system. We get to talking. He has three pairs of Krell KMA-160 monoblocks and Reference KRS preamps for me. Thanks, I say, but how can I get them home? No problem—Dan has a van.
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Jason Victor Serinus Posted: Sep 20, 2016 17 comments
What do Prince, David Bowie, Merle Haggard, Gato Barbieri, Phife Dawg, Frank Sinatra Jr., Keith Emerson (Emerson Lake & Palmer), Dan Hicks (Dan Hicks and His Hot Licks), Maurice White (Earth, Wind & Fire), Paul Kantner and Signe Toly Anderson (Jefferson Airplane), Glenn Frey (Eagles), Dale Griffin (Mott the Hoople), pianist Paul Bley, bassist Rob Wasserman, sopranos Susan Chilcott, Phyllis Curtin, and Denise Duval, countertenor Brian Asawa, composers Steven Edward Stucky and Sir Peter Maxwell Davies, and conductors Pierre Boulez, Nikolaus Harnoncourt, Gilbert Kaplan, Gregg Smith, and Royston Nash have in common? Besides the fact that all were musicians who made multiple recordings and who died in 2016, their recorded legacies rarely, if ever, get airplay at dealerships or audio shows.
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Steve Guttenberg Posted: Aug 16, 2016 11 comments
A recording engineer's choices of microphones to record singers, guitars, horns, bass, drums—or an entire orchestra—are absolutely crucial. Those very subjective choices are, in large part, what separate the best recordings from the also-rans. When I contacted some of the best engineers in the business to talk about mikes, I got an earful. I was told that mikes have a more profound impact on reproduced sound than does any other link in the recording chain. Yes, the acoustic of the recording venue also plays a huge role, and post-session mixing and mastering can of course improve or ruin the sound—but the choice of mikes is absolutely crucial.
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Robert Schryer Posted: Jul 14, 2016 10 comments
Once in a blue moon, I'm asked this question: How much should I spend on an audiophile rig? It's usually asked by someone with no real interest in buying an audiophile rig, but who's fishing, for giggles, for the exorbitant figure that is the presumed going rate for joining our hobby. Sometimes, when the mood strikes, I'll bang out a randomly absurd number—"$80,000!"—then lean back to observe the fallout. Nine times out of ten, that fallout consists of a head shake and a snicker, as if to say, "You guys are nuts!" But on those occasions when honesty seems the best policy, my short answer to the how-much question, regardless of the buyer's financial means, is the same: As little as possible.
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Jason Victor Serinus Posted: Jun 14, 2016 Published: Jul 01, 2016 12 comments
Last January, in Las Vegas, a record 170,000 people attended the 2016 Consumer Electronics Show. Most of them neither saw nor heard a trace of high-end audio gear. Not only was all mention of what CES calls "high performance audio" absent from the show's official Attendee Guide, but the hallways of the Venetian Tower, which in past CESes were filled with high-end manufacturers, dealers, and distributors, were anything but crowded.
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Art Dudley Posted: May 17, 2016 Published: Jun 01, 2016 17 comments
Note: All dialogue quoted verbatim from e-mail exchanges to which I am privy; the stage directions are imaginary.

Dramatis Personae:

bill, director of marketing for PS Audio

randy, amateur reviewer for a commercial audiophile website

dick, professional reviewer for an established audio magazine (not Stereophile)

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Steve Guttenberg Posted: Apr 21, 2016 Published: May 01, 2016 41 comments
I was in a strange mood last January when I posted this on Facebook: "Do speaker designers strive for accuracy, or for a 'sound' they think potential buyers want?" I doubted that any designer with two working ears would even attempt to design speakers that merely measured well—there must be at least some subjectivity in their process. I also assumed that few designers would go on record about where they stand on the accuracy question, so I was thrilled when Elac Americas' speaker designer, Andrew Jones, responded...
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Robert Schryer Posted: Mar 22, 2016 Published: Apr 01, 2016 14 comments
It's one of audiophiledom's eternal questions: What can we do to draw more music lovers into the audiophile fold?

Of the proposals bandied about on audio forums, two seem predominant: a) sell stuff more people can afford, and b) sit your neighbor or the cable guy in front of your stereo, cross your fingers, and let 'er rip—the theory behind b) being that the experience will be so epic as to transform the reluctant participant into an audiophile butterfly. As if.

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