Not a hobby

It has been years—decades—since I last thought about my dad’s Magnavox Stereo. Jason Victor Serinus’s brilliant essay in last month’s issue opened up the floodgates.

Like Jason’s dad, my dad also had a Magnavox Stereo, complete with Garrard record changer and diamond needle. With its giant woofer and glowing tubes, it was not only state of the art for 1960 but a work of art as well.

It was both the focal point and family gathering point in our small four-room flat. It was my dad’s pride and joy.

We did not listen to Caruso or opera. My dad’s taste was more along the lines of Jonah Jones and Tony Bennett. But the emotional and physical connection to the artists and the system were the same as Jason’s.

While I did not set out to duplicate my dad’s system, my 35-year-old LP12, my record collection, and my tube amp appear to indicate otherwise.

A day doesn’t pass without me discussing music or my system. They are so intertwined it is impossible to speak of one without the other. This is not a hobby. It’s a way of life.

Without some sort of playback medium, most of us would never have experienced the power and the glory of Caruso. Or Jonah Jones. Or Joe Cocker.

Jason’s last paragraph

Você está lendo uma amostra, registre-se para ler mais.

Mais de Stereophile

StereophileLeitura de 1 mins
Associated Equipment
Analog sources Linn Sondek LP12 turntable with Lingo power supply, Linn Ekos tonearm, Linn Arkiv B cartridge, Channel D Seta L phono preamplifier. Digital sources Roon Nucleus+ file server; Ayre Acoustics C-5xeMP universal player; PS Audio PerfectWav
StereophileLeitura de 3 mins
Record Reviews
The stats alone are impressive—or, as we at Stereophile like to say, the measurements. 79-year-old Bob Dylan’s 39th studio album is his first album of original material since 2012. Rough and Rowdy Ways times out at more than 70 minutes of music, due
StereophileLeitura de 4 mins
Boulder 2108 Phono Preamplifier
In his review of this very expensive, very heavy, American-made, two-box phono preamplifier in the August issue,1 Michael Fremer enthused over its sound. “The 2108 produces both a sense of soaring exultation in the upper registers and gritty drama in