John Atkinson

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John Atkinson  |  Apr 21, 2011  |  1 comments
You can see here the dipole nature of the Orion 4, with the rear-firing tweeter, the back of the midrange unit, and one of the woofers.
John Atkinson  |  Sep 14, 2003  |  0 comments
There is one date I dread every year: my wife's birthday. After nearly 16 years of marriage, I have exhausted every last iota of my spousal resources in trying to think of a suitable present. Nothing too ordinary, nothing too out of the ordinary, nothing that will trigger those dreaded words, "You did keep the receipt, right?"
John Atkinson  |  Sep 16, 2007  |  0 comments
"Why didn't they choose a color set?" I had been reminiscing about the early days of TV and how my parents bought a black-and-white set so we could watch the Coronation of Queen Elizabeth II in 1953. My daughter Emily's question had me stumped. It is difficult to explain to someone born 10 years after the launch of CD—someone who, for example, has never seen, let alone used, a typewriter, and who enjoys a comparatively infinite set of choices among mature 21st-century technologies—that it was not always thus.
John Atkinson  |  Jun 08, 2012  |  0 comments
. . .is a $4295 D/A integrated amplifier with a tubed line stage and solid-state output stage that offers 440Wpc into 8 ohms and 650Wpc into 4 ohms. Hooked up with Straightwire cable to a pair of Dynaudio Confidence C1 speakers and fed by a MacBook in the fourth of the Sunny’s Audio rooms, this system rocked hard on a surprisingly successful reggae treatment of Pink Floyd’s “Wish You Were Here.” (I am always amazed by the new music I discover at shows, thanks to the perverse taste of exhibitors!)
John Atkinson  |  Oct 22, 2010  |  2 comments
Peachtree's David Solomon, seen here accosting Stereophile's Stephen Mejias (right) in the hotel's coffee bar, was in ebullient mode. He's holding Peachtree Audio's new idAC ($999), which combines the usual 24/192kHz S/PDIF inputs with a 24/96-capable USB input and an iPod dock that, like the Peachtree iDecco amplifier that is favorably reviewed by Art Dudley in our December 2010 issue, takes the audio data from the iPod in digital form. The iDAC uses the latest version of ESS's 32-bit Sabre32 D/A chip.
John Atkinson  |  Jan 15, 2011  |  0 comments
Wisdom president Mark Glazier holds one of the two-way, push-pull, planar-magnetic modules, four of which are used in each LS4.
John Atkinson  |  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.
John Atkinson  |  Nov 03, 2007  |  First Published: Sep 03, 1996  |  0 comments
In recent months, Stereophile's "Letters" column has been filled with complaints about the equipment we choose to review. "Too rich for my pocketbook" is the universal sentiment. This puzzles me, considering that Stereophile does review many "affordable" components. In part, I think this reaction is due to the high profile invariably associated with very expensive gear. Although we did put both speakers on our cover, one review of a Wilson Grand SLAMM or a JMlab Grand Utopia seems to outweigh 10 reviews of more realistically priced products. Our writers love to cover the cutting edge of audio—witness Martin Colloms's report from HI-FI '96 in this issue—because progress is more easily made when a designer is freed from budget constraints. But without the Grand SLAMM or Utopia, would Wilson have been able to produce the $9000/pair WITT, or JMlab the $900/pair Micron Carat, to name two high-value, high-performance designs recently reviewed in the magazine?
John Atkinson  |  Feb 07, 1998  |  First Published: Feb 07, 1992  |  1 comments
"Nothing is real, and nothing to get hung about."---John Lennon
John Atkinson, J. Gordon Holt  |  Nov 25, 1986  |  0 comments
The Question of Bass: J. Gordon Holt
A few issues back, in Vol.9 No.3, I used "As We See It" to clarify what Stereophile writers have in mind when they use the term "transparency" in equipment reports. This time, I'll do the same thing for the performance parameters of bass reproduction.

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