As We See It

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J. Gordon Holt  |  Nov 12, 2015  |  First Published: Dec 01, 1966  |  0 comments
When we first heard rumors that Shure Brothers was about to unleash something called "trackability" on the audio world, our reaction was mainly one of indifference. We already had loudspeakers with listenability, tape recorders with portability, and amplifiers with stability and dependability. Trackability, we figured, was just another clever sales gimmick; a catchy word that the advertising department had thought up to describe what everyone wanted in a pickup.
J. Gordon Holt  |  Apr 05, 2016  |  First Published: Sep 01, 1966  |  10 comments
Our mail, in recent months, has brought a number of comments (some of them printed in this issue) from professional audio men who decry the fact that developments in the audio field seem to have come to a screeching halt.

There would seem to be some justification for believing this, too. There hasn't been a new kind of loudspeaker, amplifier, pickup, or tuner for the past five years or so. The professional engineering journals, once loaded with juicy articles about research and developments in music reproduction, are now devoted largely to public-address techniques and new methods for the "creation" of electronic music.

J. Gordon Holt  |  Apr 12, 2016  |  First Published: May 01, 1966  |  0 comments
Editor's Note from 1974: As you can read in the following "As We See It," the last issue of Vol.1 No.12 (cover dated "Spring 1966") was perhaps not as "strong" as it might have been. If we had been doing things according to Proper Business Practice, we should have held back our best articles and our gutsiest reports until that issue, as a high-powered incentive for our subscribers to renew their subs. We didn't. There were better articles and a greater variety of topics covered in earlier issues, but Issue 12 was significant in that it set the pattern of topic emphasis, and the balance of reports versus other editorial material, that was to continue more or less unchanged for the next 7 years.
J. Gordon Holt  |  Sep 06, 2016  |  First Published: Sep 01, 1965  |  2 comments
Well, it's that time. The time of reckoning, the moment of truth. It's renewal time.

Most of you have noticed the hyphenated numbers on your address labels, and most of you guessed what they were: Expiration codes. If your label has a 1-12 number on it (or no hyphenated code at all), the next issue of The Stereophile, Issue Number 12 [published in September 1966—Ed.], will be the last one that will arrive on your present subscription.

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
J. Gordon Holt  |  May 03, 2016  |  First Published: Dec 01, 1964  |  4 comments
Well, the New York Hi-Fi wingding has come and gone once again, and now is the time when audio editors dutifully adopt the role of oracle, divining the future of high fidelity, and generally sketching out The Big Picture for those of us too blind to see the graffiti on the wall. So, who are we to shirk our duty? Herewith, The Stereophile's audio observations and predictions for 1965.
J. Gordon Holt  |  Nov 09, 2016  |  First Published: Aug 01, 1964  |  2 comments
Like every sensible publication, The Stereophile keeps track of the questions raised by readers who write to us, so we can get some idea of what most of you would like to see in future issues of the magazine. To date, the list looks like this, in order of diminishing interest: transistor amps and preamps, loudspeakers, pickups, tape equipment, tuners and, way at the bottom of the list, recordings. We are devoting most of the August 1964 issue to a discussion of commercial recording practices.
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  |  Aug 09, 2016  |  First Published: Dec 12, 1963  |  4 comments
By the time you read this in late 1963 (probably a month after it is written, judging by the speed with which the US mails speed second-class matter on its appointed rounds), Capitol Records will have announced the first bit of really good news for the high-fidelity perfectionist in years: the release of imported disc pressings—taped, cut, and stamped in Europe. London has been importing for years—all the Londons you buy are pressed by Decca in England. But this will be the first opportunity we will have of sampling the products of some of London's overseas competitors.
J. Gordon Holt  |  Dec 31, 2000  |  First Published: Jun 01, 1963  |  1 comments
Editor's Introduction: In 1963, Stereophile's founder J. Gordon Holt published attacks on what he saw as the single largest step backward in high-fidelity sound reproduction at that time: RCA's introduction of "Dynagroove" LP records, where the recorded signal was pre-distorted and dynamically equalized to compensate for the poor performance of cheap phonograph players. "Issue 5...revealed most of RCA Victor's 'revolutionary' new system as nothing more than a sophisticated way of bringing higher fi to record buyers who don't care enough about hi-fi to invest in a decent playback system." Ten years later, Gordon wrote that, "As of 1974, the best we can say for Dynagroove is that there is no audible evidence of it on current RCA releases." (These articles were reprinted in June 1992, Vol.15 No,6, as part of Stereophile's 30th-anniversary celebrations.)John Atkinson
J. Gordon Holt  |  Feb 04, 1997  |  First Published: Feb 01, 1963  |  0 comments
Dateline: late August 1989. The scene: my palatial office in the Stereophile Tower. Present were the magazine's official technowizard Robert Harley, Circulation Kahuna Michael Harvey, and myself. The subject under discussion was the program for the Stereophile Test CD, launched in this issue, and Bob had been dazzling Michael and myself with a description of the sophisticated signal-processing power offered by the Digidesign Sound Tools music editing system with which he had outfitted his Macintosh IIX computer. (He had to fit it with a 600-megabyte hard-disk drive!) "It'll even do edits as crossfades as well as butt joins," enthused Bob. "Let me tell you about the crossfade I once did when editing a drum solo for a CD master that lasted ten seconds..."
J. Gordon Holt  |  Dec 08, 2015  |  First Published: Jan 01, 1963  |  16 comments
Two letters from readers (see below) started us thinking again about something we've mulled at, off and on, for the past year or so: Does today's high-fidelity equipment, for all its vastly improved performance, actually sound that much better than the best of the early components?
J. Gordon Holt  |  Feb 16, 2016  |  First Published: Dec 01, 1962  |  5 comments
When the Record Industry Association of America adopted its standard disc playback equalization curve in 1954, hi-fi enthusiasts heaved a sigh of relief and bade fond farewell to years of confusion, doubt and virtual pandemonium. Before the RIAA curve there were six "standard" curves in use, and since nobody seemed to know who was using what, getting flat response from a disc was often more a matter of luck than anything else. The adoption of the RIAA standard playback curve heralded an end to all this.
J. Gordon Holt  |  Jul 03, 2017  |  First Published: Nov 01, 1962  |  3 comments
Stereophile's founder, J. Gordon Holt, photographed toward the end of his life by Steven Stone.

Editor's Note: The forthcoming August 2017 issue of Stereophile is No.451, but 55 years ago this summer, J. Gordon Holt was putting together the first issue of what initially was to be called The Stereophile. Here is Gordon's editorial leader from that issue, published in November 1962.

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