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von MILTON B. SLEEPER, Publisher, 1951

ONE OF THE most intriguing aspects of undertaking to publish High Fidelity is the number of widely divergent opinions held by the devotees of the field this magazine will serve.

As you might expect, the first announcements of this Magazine brought forth a flood of comments and questions, delivered by mail and in person. A large number, of course expressed gratification over the fact that there would be, at last, a publication devoted to all the aspects of and uses for audio reproduction.

Some asked bluntly: "Do you know anything about this subject?" Others, in a more belligerent tone, wanted to know: "What position are you going to take on pentodes vs. triodes?" or about other matters on which deep but conflicting convictions are held by both amateur and professional experts.

These are legitimate questions, and so they should be answered here, for the benefit of all our readers:

FIRST, it should be explained that the purpose of High-Fidelity is not to give expression to the personal opinions of the Publisher or the Editor. The product of such a policy would be pure propaganda. Because this Magazine will succeed to the extent that it performs a useful service to you, the Reader, it must undertake to inform, but not persuade. At this time, as never before in all recorded history, the importance of respecting divergent opinions has been made so clear to us all.

The undertaking to supply information, then, carries the primary obligation of editorial honesty and accuracy. That obligation I am prepared to accept personally, and on behalf of our own staff and our contributors. If that seems too great a responsibility in a field as broad and complex as High-Fidelity must cover, remember that it does not require such wide personal knowledge, but the willingness to seek and the ability to find those who can contribute information drawn from their own specialized experience.

NOW, lest you fear that High-Fidelity may follow too serious a vein, let me say that we shall not forget the primary purpose of fine audio reproduction, which is to entertain.

The planning of this project, and the preparation of the first issue has been a big job for everyone involved. But we've had a lot of pleasure and satisfaction from it, too. If you get as much enjoyment from reading this Magazine as we did in producing it, then our effort was well spent.

In case you need additional information, a Reader's Service Bureau, announced elsewhere in this issue, is available to you at all times. Or if you want to correspond directly with the author of any article, letters addressed in care of High-Fidelity will be forwarded promptly.

ONE final note: In the matter of personal opinions you, the Reader, have an advantage over the Publisher. You are privileged to express your convictions in comments, suggestions, and criticisms. You are cordially invited to exercise this privilege. Be perfectly frank; don't pull your punches. Whatever you have to say, you can be certain of an attentive audience here at High-Fidelity.

MILTON B. SLEEPER, Publisher - 1951

Grußworte und Briefe - sag es mit Blumen

Noted with interest : Say it with Flowers
If we are to encourage more widespread interest in realistic reproduction of sound, we should use a bit of applied psychology. So when neighbors and friends are around, let's stop saying "turn on the radio" or "play a phonograph record". Instead, let's "listen to a program" or "hear some music".

After all, if our audio systems approach realism, we may turn on the radio but what we really do is hear a program or listen to the music . . . faithfully reproduced for all to enjoy.

Television Sound
Although no doubt most audio-philes know it by now, it's worth reminding the world at large that television sound is often startlingly good, at least when it starts out. (Live talent shows transmitted via noise-free FM is a basic reason.) It may be ruined by many a commercial set, with a 6" speaker tucked in the side somewhere, but the engineers are doing their best for us.

With a wide range reproducing system, all the goodness is preserved, with the result that a violinist a few nights ago was definitely not on the stage, but right in our living room.

We also suspect that some of the TV sound engineers count on the abbreviated frequency response range of most TV sets to do some of their work for them. At the moment, we are experimenting with an FAS reflex Air-coupler, and if there is any bass to be had, that will bring it out. Which makes it particular fun to listen to the "Bert Parks show", which is full of the thumping of feet and scenery which the engineers, no doubt, are sure does not reproduce.

It's Murder
At the other end, far from the highly enjoyable, brilliant sound of most programs, is the doctored up glop which characterizes some telecasts. A prize example was a "Phil Spitalny show" a while back, in which not only the sound was murdered, but the composition itself.

It might have been all right if he hadn't chosen "Kabalevsky's Comedian's Galop", which was recently recorded by London (LPB 146) and which has since become one of our demonstration records.

Both sound and musicianship are magnificent in the record . . . tingling xylophone, singing strings, thwapping drums, a piece full of lilt and verve and dash. Mr. Spitalny, for all his baton flailing, managed to make the selection sound like a rendition of "Old Black Joe" by a pack of beagles baying at the moon.

And no amount of shots of a raven-haired beauty flashing her long locks and smiling at the TV camera could make up for the fact that she couldn't play the drums, and even if she could have, the sound engineer finished her off by feeding everything through a beer barrel !

Card of Thanks
To the hundreds of people who have written in wishing us luck and success with our publishing venture, our most sincere thanks and appreciation. It has been a heart-warming and rewarding experience.

"Imprint" oder auch Impressum

Volume 1, Number 1 Summer 1951

Published by:
RADIOCOM, INC. at 264 Main Street, Great Barrington, Mass. Tel. Great Barrington 500.

HIGH-FIDELITY is issued quarterly in April, September, November and February.

Single copies $1.00-Subscription rate: $6.00 for three years, $3.00 for one year in the U S.A. and Canada, add 50c per year postage-foreign, add $1.00 per year postage.

Editorial contributions will be welcomed by the Editor. Payment for articles accepted will be arranged prior to publication. Contributions will be neither acknowledged nor returned unless accompanied by adequate postage, packing, and directions, nor will HIGH-FIDELITY Magazine be responsible for their safe handling in its office or in transit.

The cover design and contents of HIGH-FIDELITY magazine are fully protected by U. S. copyrights, and must not be reproduced in any manner or in any form without written permission.

Subscriptions to HIGH-FIDELITY make wonderful gifts for friends, customers, and associates. For special group rates on 3 or more subscriptions entered at one time, write the Circulation Department, HIGH-FIDELITY, P. O. Box 600, Great Barring-ton, Mass.

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