Stereophile
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<p><img class="story_image" src="http://www.stereophile.com/images/1013gold.promo_.jpg" /></p> I was introduced to audiophilia by my friend Gary Gustavsen. Although I'd known Gary since I was 13, I didn't discover his passion for music until that day in high school physics lab when I blurted out an obscure line from the Doors' "The Soft Parade," and Gary bounced back immediately with the next line. It turns out I shared my friend's passions for the Doors and Frank Zappa, but not for Mahler. Before long, Gary was dragging me to every audio store in our area to listen to potential speakers for his first high-end audio system. At the beginning of each trip he'd say, "Right now I'm partial to the Rectilinear 3s." Although I heard him say that many times, I never actually got to hear a pair of Rectilinear 3s.
<p>
Back then, in the early 1970s, the stores in our area pushed either <a href="http://stereophile.com/floorloudspeakers/174dq10/index.html">Dahlquist DQ-10</a>s or <a href="http://www.stereophile.com/standloudspeakers/425/index.html">Bose 901</a>s. My epiphany came when Long Island's Audio Breakthroughs announced the new Dahlquist DQ-1W subwoofer to partner with their DQ-10s. Gary and I attended a demo at the store, and I was smitten by the coherent, open, uncolored sound of the DQ-10s with DQ-1W, particularly the way the speakers articulated transients in the midrange. Then I felt a tap on my shoulder, and some guy handed me a crude little metal box. "We're coming out with this soon, which will let you drive the new subwoofer with its own separate amplifier," he said. The metal box was the only prototype of the DQLP-1 crossover, designed by Carl Marchisotto. The guy who'd tapped me on the shoulder was Saul Marantz.
</p><p>
Although it would be five years before I'd have the money and the space for my first Dahlquist-based system, Gary was ready to pull the trigger on a new pair of speakers that night. He ended up with a pair of ESS Laboratories AMT-1s, which featured the Air Motion Transformer ribbon tweeter designed by Dr. Oskar Heil. This tweeter moved air in a semi-perpendicular motion using a folded sheet supported by a series of aluminum struts positioned and immersed in a magnetic field. The diaphragm was expands and contracts in a motion similar to that of an accordion's bellows. Because such a folded tweeter "spits" out air in a way similar to the action of shooting a seed from between one's thumb and forefinger, the tweeters were known in their day as "cherry-pit squeezers."
</p><p>
At the time, Gary and I co-led the Hauppauge Avant-Garde Ensemble, an original jazz-rock and comedy music group. However, as I then owned no serious sound system
[Source: http://www.stereophile.com/content/goldenear-technology-aon-2-loudspeaker]
<p>
Back then, in the early 1970s, the stores in our area pushed either <a href="http://stereophile.com/floorloudspeakers/174dq10/index.html">Dahlquist DQ-10</a>s or <a href="http://www.stereophile.com/standloudspeakers/425/index.html">Bose 901</a>s. My epiphany came when Long Island's Audio Breakthroughs announced the new Dahlquist DQ-1W subwoofer to partner with their DQ-10s. Gary and I attended a demo at the store, and I was smitten by the coherent, open, uncolored sound of the DQ-10s with DQ-1W, particularly the way the speakers articulated transients in the midrange. Then I felt a tap on my shoulder, and some guy handed me a crude little metal box. "We're coming out with this soon, which will let you drive the new subwoofer with its own separate amplifier," he said. The metal box was the only prototype of the DQLP-1 crossover, designed by Carl Marchisotto. The guy who'd tapped me on the shoulder was Saul Marantz.
</p><p>
Although it would be five years before I'd have the money and the space for my first Dahlquist-based system, Gary was ready to pull the trigger on a new pair of speakers that night. He ended up with a pair of ESS Laboratories AMT-1s, which featured the Air Motion Transformer ribbon tweeter designed by Dr. Oskar Heil. This tweeter moved air in a semi-perpendicular motion using a folded sheet supported by a series of aluminum struts positioned and immersed in a magnetic field. The diaphragm was expands and contracts in a motion similar to that of an accordion's bellows. Because such a folded tweeter "spits" out air in a way similar to the action of shooting a seed from between one's thumb and forefinger, the tweeters were known in their day as "cherry-pit squeezers."
</p><p>
At the time, Gary and I co-led the Hauppauge Avant-Garde Ensemble, an original jazz-rock and comedy music group. However, as I then owned no serious sound system
[Source: http://www.stereophile.com/content/goldenear-technology-aon-2-loudspeaker]