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Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

Audiovector QR1
REVIEW

Audiovector QR1

The QR1 by Audiovector of Denmark is a two-way compact […]

Ramar Record Brush
REVIEW

Ramar Record Brush

Every vinyl-spinning audiophile understands the importance of maintaining clean record […]

Monitor Audio Silver Series 300 7G Loudspeaker
REVIEW

Monitor Audio Silver Series 300 7G Loudspeaker

The Silver 300 7G is the seventh generation of Monitor […]

Kimber Kable Carbon Series 16 and Carbon 18XL Cables
REVIEW

Kimber Kable Carbon Series 16 and Carbon 18XL Cables

Kimber Kable is a touchstone company for me, and I […]

Q&A with Ozan Turan of High End By Oz – The Wizard of Sound
BLOG

Q&A with Ozan Turan of High End By Oz – The Wizard of Sound

How did your interest in high-end audio begin? Did it […]

Cabasse Pearl Akoya Powered DSP Loudspeaker
REVIEW

Cabasse Pearl Akoya Powered DSP Loudspeaker

The Pearl Akoya is a speaker system that defies easy […]

Eagles: Eagles
MUSIC

Eagles: Eagles

Few rock groups ever flew higher in the charts, sold-out […]

Q&A with Michael Hedges of Monitor Audio
BLOG

Q&A with Michael Hedges of Monitor Audio

What ignited your interest in high-end audio? Did it come […]

MBL 126
REVIEW

MBL 126

Few audiophile companies command the level of respect that MBL […]

Q&A with Mads Klifoth of Audiovector
BLOG

Q&A with Mads Klifoth of Audiovector

How did your interest high-end audio begin? Did it come […]

2021 Golden Ear Awards | Neil Gader
REVIEW

2021 Golden Ear Awards | Neil Gader

MBL 126/MBL 120 Loudspeakers $12,900 ($1350, stands); $21,400 ($1630, stands)  […]

Polk Audio Reserve Series R200
REVIEW

Polk Audio Reserve Series R200

The Polk Audio Legend L100 is one of my favorite […]

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