John Atkinson

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John Atkinson  |  Mar 07, 2017  |  First Published: Apr 01, 1989  |  5 comments
I like Brooklyn. I even got married under the shadow of the Brooklyn Bridge! (Almost the exact spot where Cher's grandfather let his dogs howl at the moon in Moonstruck. And if you're ever in the Park Slope area, check out McFeeley's for brunch.) I could be forgiven, therefore, for having a soft spot for any Brooklyn manufacturer, including Ohm Acoustics. Except that the only Ohm model I have heard was the omnidirectional Ohm Walsh 5 (favorably reviewed by Dick Olsher in Stereophile in 1987, Vol.10 No.4, and 1988, Vol.11 No.8), and the omni principle is something that I have never found to work, or at least to give me what I feel necessary in reproduced sound. The Ohm Model 16, however, is one of three more conventional Coherent Audio Monitor (CAM) speakers intended to offer good sound at an affordable price: $300/pair
John Atkinson  |  Feb 21, 2017  |  4 comments
Long-lived loudspeaker models are rare. So it's surprising that the two-way, stand-mounted Model 5, the smallest speaker made by Massachusetts-based Aerial Acoustics, was revised just once between 2015 and April 1997, when Robert Harley favorably reviewed it and it cost $1800/pair. The revised 5B was equally favorably reviewed by John Marks in July 2009. This kept the original's 1" titanium-dome tweeter and sealed-box woofer loading but replaced the 7" polypropylene-cone woofer with a 7.1" laminated-fiber–cone woofer. Despite more than a decade's worth of inflation, the price rose only slightly, to $2400/pair.
John Atkinson  |  Feb 16, 2017  |  22 comments
I have had a long relationship with Bowers & Wilkins. The first B&W speaker I spent serious time with was the DM-6, the infamous "pregnant kangaroo," which was reviewed by Allen Edelstein in December 1977 and which I borrowed for a while after interviewing the company's founder, John Bowers. Ten years later, when I met the woman who was to become my third wife, she already owned a pair of B&W Matrix 801s, a speaker reviewed by Lewis Lipnick in December 1987.
John Atkinson  |  Feb 09, 2017  |  First Published: Dec 01, 1993  |  13 comments
There is a tendency in magazine publishing to concentrate on the present. Writers generally downplay what happened in the irretrievable past as being of lesser importance compared with the new and exciting, their enthusiasm pretty much tied to the ever-in-motion time-line. I instituted Stereophile's annual "Products of the Year" feature, therefore, to give recognition to those components that had proved capable of giving pleasure beyond the formal review period. To confound confusion, there are just five individual categories: "Loudspeakers" (including subwoofers); "Amplification Components" (preamplifiers, power amplifiers, etc.); "Digital Sources" (CD players, transports, D/A processors); "Analog Sources" (phono cartridges, turntables, tonearms, FM tuners, etc.); and "Accessories" (everything else).
John Atkinson  |  Jan 18, 2017  |  8 comments
"Dammit!" No sooner had I praised small loudspeakers while dismissing large speakers as potentially having "large problems," in my review of the Crystal Arabesque Minissimo Diamond in the October issue, than I had to eat my words. Only days after that issue had gone to press, Magico's VP for Global Sales & Marketing, Peter Mackay, and CTO Yair Tammam, arrived at my place to set up a pair of the Bay Area company's floorstanding—and very large—S5 Mk.II loudspeakers.
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  |  Dec 13, 2016  |  10 comments
It's no secret that deputy editor Art Dudley is an anachrophile (footnote 1). After expounding on the virtues of vintage audio gear in his October 2016 Listening" column, he spent no fewer than seven pages of our November issue raving about the sound quality of Auditorium 23's expensive Hommage Cinema loudspeaker, from Germany. (The Hommage Cinema costs $49,995/pair, plus $5495 for the necessary AcousticPlan NT-1 field-coil power supply.)
John Atkinson, Will Hammond  |  Dec 08, 2016  |  First Published: Nov 01, 1990  |  9 comments
In "Music and Fractals" in the November 1990 issue, I discuss how digital audio's quantization of amplitude information in what was originally a continuous waveform represents a fundamental difference between analog and digital representations of music. In a letter published in the English magazine Hi-Fi Review in January 1990, John Lambshead conjectured that naturally originating sounds were pseudo-fractal in character; that is, their waveforms have a wealth of fine detail, and that detail itself has an even finer-structured wealth of fine detail, and so on, until the crinkliness of the waveform is finally enveloped in the analog noise that accompanies every sound we hear.
John Atkinson  |  Dec 07, 2016  |  First Published: Dec 01, 1989  |  2 comments
The English loudspeaker manufacturer Rogers [no connection with the contemporary US company Rogers High Fidelity] has had an illustrious history since being founded in 1947 by veteran designer Jim Rogers. Absorbed by the Swisstone company in 1976, it has since gone from strength to strength, the main creative work now being done by the respected English engineer Richard Ross. Noteworthy for keeping the miniature BBC LS3/5a design in continuous production for nearly 15 years, Rogers also makes a range of polypropylene-cone woofers and midrange units which are used in other models in its range.
J. Gordon Holt, John Atkinson  |  Dec 07, 2016  |  First Published: Jun 01, 1988  |  1 comments
888maggie.promo300.jpgNow there's a Magneplanar speaker to fill the price gap between the $2000 MGIIIa and the $1225 MGIIc. The '2.5/R is priced almost exactly midway between them, which explains the unusual model number.

Like all the other single-panel Magneplanars, these are attractive enough in appearance to be surprisingly unobtrusive in the room, despite their imposing 6' height. Apart from the wooden endcheeks, they are covered with fabric grille all the way around, which could be a cosmetic liability as well as an asset: Domestic cats love to climb up fabric stretched tightly over wood (as at the bases of these) and, given the opportunity, will have these speakers in shreds in no time. Magnepan recommends spray-on cat repellent; I have to tell them that some cats don't seem to mind its odor as much as most people do.

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