Brooklyn-based Grado Labs has been in business for 64 years, manufacturing moving-iron phono cartridges, headphones, and, for a while, even a unipivot tonearm with a wooden arm wand, as well as the sophisticated, S-shaped Signature Laboratory Standard arm.
The company’s founder, Joseph Grado, who well deserves the appellation “legendary,” died in 2015, at the age of 90. He began as a watch builder at Tiffany & Company, and started making phono cartridges in 1953, as the hi-fi boom took off. He retired in 1990 and sold Grado Labs—still located in the same Brooklyn building where he’d begun in 1953—to his nephew John Grado Jr., who by then had put in more than a decade at Uncle Joe’s company, pretty much running it after Joe had returned to what he liked best: inventing things.
At the time, Grado Labs manufactured some 10,000 cartridges annually. It’s not as if Joe’s new invention—three models of costly, handmade headphones—was an attempt to diversify because the cartridge business was bad. Joe also invented the highly regarded, limited-edition Grado HMP-1 omnidirectional microphone, a favorite of veteran recording engineer Peter McGrath, who is currently director of sales for Wilson Audio Specialties. The headphones, hand-built by Joe and John, were an immediate success among audiophiles and recording professionals. Grado Labs’ move into headphones has proved prescient, given the subsequent boom in that market, and with the vinyl resurgence, Grado today is poised for continued growth in both arenas, even as John Grado reaches retirement age (though it’s doubtful he’ll retire anytime soon). There are more Grados in the pipe line. Recently, it was announced that John’s sons, Jonathan and Matthew, have joined the company.
The Core Business Expands
Diese Geschichte stammt aus der December 2017-Ausgabe von Stereophile.
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Diese Geschichte stammt aus der December 2017-Ausgabe von Stereophile.
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German kitchens, Japanese amps, and Afropop gems
BRILLIANT CORNERS - I have a day job at a museum. One of my favorite things about working there is taking the elevator from my office down to one of the floors open to the public; I walk into the galleries through a discreet panel in the wall. This makes me feel like I'm in one of those horror-movie manors with a tunnel concealed behind a bookshelf. Sometimes I startle people, which I kind of enjoy.
EDITOR'S PICK - RECORDING OF THE MONTH
The record business was awash in money and power. Vinyl LPs were still five bucks, and while the pressings could be suspect, the music-buying public still snapped them up en masse.
The Butthole Surfers wipe out
REVINYLIZATION - Music's lunatic fringe drifts further out every hour. As it should. In this century, with computers playing an ever-larger role, music continues to fragment and become infinitely more varied. This splintering is either the essence of what keeps it relevant as an art form or something profoundly disturbing, to be hated and feared.
You're only lonely
AURAL ROBERT - The least surprising story in music today is the inevitable passing of irreplaceable talent. Tenor saxophonist Benny Golson died at age 95 the day I finished this salute to another fallen star, Southern California singer/songwriter John David \"JD\" Souther.
PS Audio Aspen FR5 - LOUDSPEAKER
I remember the first PS Audio product: a simple phono stage. It was so simple - a passive RIAA eq filter flanked by a pair of primitive op-amps - that when the schematic was made public, I built one myself; I was in the midst of my DIY years. I thought it was, to use a word from that time, nifty.
TEAC UD-701N - STREAMING PREAMP, D/A CONVERTER
In Gramophone Dreams #88, I described the sound of TEAC's VRDS-701T CD transport as \"dense and precise in a way I had never previously heard from digital.\" I went on to explain, \"by dense, I mean there was a tangible corporeality effected by seemingly infinite quantities of small, tightly packed molecules of musical information.\"
Sonus faber Sonetto V G2 - LOUDSPEAKER
Here's a hard truth: A written review of a full-sized speaker any speaker, really-is, at best, semi-useful. We all listen differently, we have different musical tastes, our system electronics are different, and our listening rooms vary a lot. You will gain a general picture of a speaker's capabilities and foibles from John Atkinson's measurements, and I can tell you how the speakers sound to me, in my room. But that's it. You need to hear them for yourself before making a buying decision. The best I can do is tell you how my music brain felt when the speakers were in my house and making music.
STEREOPHILE'S 33RD ANNUAL - PRODUCT OF THE YEAR AWARD 2024
When Stereophile's Product of the Year Awards were first published, in 1992, we decided that unlike some other publications and their awards schemes, we would keep the number of categories to a minimum. That way, we would avoid what the late Art Dudley once described as the \"every child in the class gets a prize\" syndrome.
Moon 861 - POWER AMPLIFIER
It is unusual to begin a review with a detailed discussion of setup. But setup protocol for the Moon 861 power amplifier ($22,000 each), the top-level amplifier in the North Collection from Moon, which I reviewed bridged in mono, proved crucial to its sound.
Mobile Fidelity, PrimaLuna, and First Watt redux
GRAMOPHONE DREAMS - It's important for readers to remember that I've spent my adult life as an artist and mechanic. Making things. Working as a tradesperson during the day then at an easel or workbench at night.
