As We See It

It was September 1962. In the UK, the Beatles were recording their first single, "Love Me Do," at London's Abbey Road Studios. And in the US, a young journalist, J. Gordon Holt, born in North Carolina but raised in Australia from 1935 to 1947, had become dissatisfied with the advertiser-friendly atmosphere at High Fidelity magazine, for which he had been the audio editor. Holt quit High Fidelity and, after a brief stint with phono cartridge manufacturer Weathers, published the first issue of what was then called The Stereophile.

I'm writing this column on the long flight back to New York City following High End Munich, the big hi-fi show that in regular times takes place each May. Because these are not regular times, this was the first Munich show since 2019. This show was smaller than other recent Munich shows: COVID in the Far East limited involvement by people and companies from East Asia, and German government–mandated attendance caps limited the number of people who could enter at any one time. Even so, it was a big show, with some interesting product introductions and prototypes.

I'm writing this one week after returning from Schaumburg, Illinois, where I attended my first real audio show since the Florida Audio Expo in early 2020, just as the pandemic was starting to gain momentum. Everyone I talked to was hopeful, but no one could predict what attendance would be like or what people's attitudes would be.

There's a notion among audiophiles that we must be regular consumers of live music, especially live acoustic music. It's the only way, the thinking goes, to calibrate our ears to the sound we should all be aspiring to at home.

No hi-fi is an island entire of itself; every component is a piece of the system, a part of the mains.—John Donne, from The Compleat Audiophile, 1623

Around the time I took over as Stereophile's editor, I bought a Peloton, the internet-enabled stationary exercise bike. It was a lifesaver during the pandemic, when gyms were closed; despite the poor audio quality and the awful music many of the instructors choose, it's good, diverting exercise.

I'm excited about the return of live music to New York City. I've attended several classical concerts in the last few weeks, and in a week or so, I'll take in a show at the City Winery: Suzanne Vega. I haven't yet made it back to New York's amazing jazz clubs—the Vanguard, the Blue Note, Smalls—but I look forward to doing so soon, especially to dropping in on my jazz local, Smoke, when it reopens in a few weeks in new, larger digs.

My As We See It column in the November 2021 issue of Stereophile was a sincere expression of regret over my inability to connect with current rock music. It ended with a request for recommendations. I got 'em. What's more, most (but not quite all) of those who responded found themselves inthe same situation: They too found most current rock'n'roll difficult to relate to.