J. Gordon Holt

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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  |  Nov 19, 2018  |  First Published: Dec 01, 1963  |  3 comments
Music of Edgar Varèse, Vol.2
Arcana, Déserts, Offrandes, Chanson De Là-Haut (Song From High)
Dona Precht, soprano, Columbia Symphony Orchestra, Robert Craft, conductor.
Columbia Masterworks MS-6362 (LP). John McClure, Thomas Frost, prods. TT: 24:45.

In electronic music, the sounds of musical instruments, natural noise-makers and electronic signal generators are recorded on tape, modified by running them at higher- or lower-than-normal speeds and manipulating their tonal content, and then combined in rhythmic and tonal patterns to create entirely new forms of music.

J. Gordon Holt  |  Aug 06, 2019  |  First Published: Aug 01, 1963  |  8 comments
We tested two samples of the ADC-1 phono cartridge, both of which were taken from a dealer's stock. One was a demonstrator that had been in use for some months. The other was brand new, right off the shelf. Both were tested in an Empire 98 tonearm and in a Gray 108-C tonearm with its damping lightly adjusted, but results with both cartridges were for all intents and purposes identical in both arms.
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  |  Dec 17, 2012  |  First Published: May 01, 1963  |  6 comments
[Note - this article is from the May, 1963 issue of Stereophile]

Many readers have asked why we don't maintain a permanent listing in each issue of The Stereophile of those components that we feel to be the best available, with or without qualification.

So, we are following our readers' suggestion, and will list in each issue groups of components which, at publication time, we feel are ones from which our readers would be well advised to assemble their systems. The list will change from time to time, as new products appear, old ones are obsoleted, or manufacturers change their quality control standards. Components will be added to or dropped from the list without advance notice if we see adequate reason for doing so, but each change in the list will be explained in the magazine at the time the change is made.

J. Gordon Holt  |  Dec 31, 2018  |  First Published: Mar 01, 1963  |  1 comments
Mahler: Symphony No.1 in D ("The Titan")
Columbia Symphony Orchestra, Bruno Walter, conductor
Columbia MS-6394 (LP). John McClure, prod. TT: 52:15

This is one of those rare combinations of a superb recording and a stunning performance. As far as I'm concerned, it is the best Mahler First that Bruno Walter committed to discs during his lifetime, including the last one that he made with the New York Philharmonic. And the fact that this recording is far superior to that accorded Walter when he conducted the New York Philharmonic does not detract one bit from my feeling about this new release.

J. Gordon Holt  |  May 30, 2019  |  First Published: Mar 01, 1963  |  12 comments
The 880P is a moving-magnet stereo cartridge for use in transcription arms and the few high-quality record changers now available, such as the Garrard Model A and the Lesa units. It has standard ½" mounting centers, and the pickup requires the 47k ohm termination provided by most preamplifiers. The 8mV output, too, is about ideal for nearly all preamps.
J. Gordon Holt  |  Sep 05, 2019  |  First Published: Mar 01, 1963  |  2 comments
An editorial note: We recently republished Stereophile founder J. Gordon Holt's 1966 review of the Swiss Thorens TD-150AB turntable. This was the first high-end 'table I bought after leaving university and earning a wage. But as good as I felt the TD-150AB to be, with its belt drive and sprung suspension, it was sonically overshadowed both by Thorens's TD 124 turntable and by the English Garrard 301 turntable.
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 09, 2019  |  First Published: Nov 01, 1962  |  1 comments
Editor's Note: This is the very first equipment report that was written by J. Gordon Holt for Stereophile, then called The Stereophile. The venerable JGH appended the following warning: The writer of this report was employed by Weathers Industries during the time when the product in question was undergoing development, so in view of this past association, and the doubt it may cast upon the writer's impartiality, this report probably should not be published, even though the writer left Weathers Industries over a year ago and is not bound by any obligations thereto.
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.

J. Gordon Holt  |  Jan 08, 2019  |  First Published: Nov 01, 1962  |  2 comments
Berlioz: Symphonie fantastique
Boston Symphony Orchestra, Charles Munch, conductor
RCA Victor LSC-2608 (LP). TT: 48:40

It is easy to forget that the hi-fi movements—the "March to the Scaffold" and the "Dream of a Witches' Sabbath"—comprise barely a third of the music in the Symphonie fantastique, yet when we listen to most of the available versions of this, we can understand why the first three movements are usually passed up by the record listener. Two are slow and brooding, one is a wispy sort of waltz, and all three require a certain combination of flowing gentleness and grotesquerie that few orchestras and fewer conductors can carry off. It is in these first three movements where most readings of Berlioz' best-known work fall flat. Either they are too sweetly pastoral or too episodic and choppy, or they degenerate into unreliered dullness.

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