As We See It

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As We See It Aural Robert Historical

Aural Robert #1

Robert Baird First Published: Jan 05, 1997
Please let me explain. Because I've never been especially adept at making lifelong commitments and irrevocable decisions, when it came to naming this new column, Managing Editor Debbie Starr and I decided that we would gather the passionate (and supremely efficient) minds of the Stereophile production staff, add a near–life-threatening amount of margaritas, and put the question to them.
As We See It

Chips for Chumps

Jim Austin First Published: May 15, 2005
In his "From the Editor's Desk" in the March issue of Stereophile's e-newsletter, John Atkinson recounts how, years ago, "erstwhile audio scribe Enid Lumley" demonstrated her pizza-box-tripod tweak at a hi-fi show. Lumley, JA writes, "placed the tripod atop a CD player and convinced her audience—including me—that the sound was better."
As We See It J. Gordon Holt

I Say It's Video!

J. Gordon Holt First Published: Jun 08, 1993

A couple of months back (March">http://www.stereophile.com/asweseeit/393awsi">March 1993, p.7), I wrote that as far as I was concerned, video was television dressed up in fancy dress, thus there was no place for coverage of the medium in Stereophile. As the magazine's founder, J">http://www.stereophile.com/interviews/66">J. Gordon Holt, has been a committed videophile for many years, I sat back and awaited a reaction from him. One was not long coming. I am running his response as this month's "As We See It" feature.—John Atkinson

As We See It

Old Wine, New Bottles

Wes Phillips First Published: Apr 17, 2005
These days, too many audio stores are like hushed mausoleums. Audio gear is displayed like dead art, and the sales staff, unless you're known as a regular customer, either greets you with a predatory gleam or, certain that you've wandered in by mistake, ignores you.
As We See It

What is the Absolute Sound?

Jonathan Scull First Published: Jun 05, 1999

Just what is the absolute sound, and how do you get there from here? What the heck are we looking for as we endure the mirth of others while purposefully setting up our high-end systems? Is it, indeed, the sanctified sound of acoustic instruments in real space? Can we ever really achieve that? Or is it the accurate realization of the signal on the master tape? Or—as was recently suggested at the New York Noise single-ended lovefest, covered in this issue's "Industry Update"—are some of us looking for the emotion and the artist's intent?

As We See It

Party Like It's 1979

Jon Iverson First Published: Jan 16, 2005

Having just spent the last four days at the 2004 Audio Engineering Society conference in San Francisco, I was struck by the sunny enthusiasm shared by many industry professionals for 5.1-channel surround-sound music.

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