The reviewer's deceit

At the heart of audiophile magazines rests a claim that is difficult if not impossible to sustain. Namely, all reviews and all product rankings carry with them a statement, implied or explicit, that you should not rely on the reviewer's impressions but instead, should seek out these products and hear them for yourself to determine if they are truly as good as reported. On top of this, we are reminded of system synergies, that your mileage may vary, and no two rooms are the same etc. In other words, the reviewers can report what they like, defended against objections by an appeal to subjective experience and unreproducible context.

Sadly, most reviewers must know that not only are the contextual variables impossible to replicate in any reader's situation, but worse, most readers can never anticipate being able to hear these products, even in a dealership. Consequently, even though review after review reminds people not to take the experiences of one as a guide, the reality is interested parties must rely on the advice given if they are to form a sense of what might be good and not so good in the world of audio products. Since reviewers won't submit themselves to blind tests to confirm that they actually can hear what they report hearing without recourse to sight, the reviewing literature is always questionable.

Now there are positives here that should not be overlooked. One can, over time, learn to identify the reviewing biases and preferences of some reviewers and then calibrate one's own tastes accordingly. I have done this so that I now know, if a well known reviewer raves about a certain digital front-end, I probably will not be able to hear what he hears, but if another finds no problems with a certain speaker, then I will likely enjoy that product too. But this is a less than precise or efficient process, and it still requires experience listening to products that have been reviewed. And this is the nub of the problem: contemporary audiophile product selling does not reflect the world in which reviewers reside and from which they advise.

Nowhere is this clearer than in trying to purchase speakers. Here's a component that you really have to hear before making a decision to buy but tell me, where can a typical purchaser hear most of the loudspeaker products reviewed in a typical issue of TAS or Stereophile? I put this to the test a couple of years ago when I wanted to learn what I could hear locally. In a relatively large, well-populated part of the US, within 25 miles of my home I could hear in a dealer's showroom the following $10-20k models:

Wilson Sophia
Eggleston Andra
Martin Logan Summits
B&W 802D

And to have even this many, I consider myself lucky. No Thiel, no Von Schweikert, no Magico, no Verity, no Quad, no Avalon, etc. Go through the top ranked speakers in the recommended components list of S'phile, or the increasingly frequent award winning listings in TAS and try to find some of these models. Not round here fella!
Leaving aside the fact that only one of these models was supported by a dealer who would consider a home trial, I wondered how I could even lay eyes on some of the highly touted products in this competitive price range, never mind hear them.

Contacting manufacturers directly resulted in some insightful responses. Avalon told me to contact a dealer over 1200 miles away, who subsequently told me I'd love the product and he'd work with me if I bought them. But no, I could not hear them anywhere but his dealership first. A Legacy dealer told me to fly to Illinois and he'd reimburse my flight if I bought them. The editor of a leading mag told me to attend an audio show and make a choice from there. Wow.....this is how one spends $20k on audio then. Oh, and by the way, don't pay too much attention to reviews! And heaven help you if you want to buy a turntable of any quality.

The disconnect between mainstream reviewing, the industry, and how real people get to purchase gear explains why Audiogon thrives, why there are so many forums for people to share experiences, and why so many times we end up arguing about reliability and objectivity of reviews. I don't think the reviewers in the mainstream mags are to blame, but I sure wish they would wake up to the reality of ordinary purchaser's opportunities to hear equipment, and in so doing, review in a manner that helps rather than hides behind vague endorsement and the convenient defense of 'hear it yourself to decide'. When you cannot hear it for yourself, we need reviewers who can be more than generally positive about everything while hiding behind the standard caveats, and we need an audio press that works on a realistic appreciation of how people get to know audio equipment then campaigns to have manufacturers make this process easier. A little honesty about the audio purchasing experience would go a long way.

Haden and Jarrett -- as good as it gets

I've listened intensely for a couple of months now to Keith Jarrett and Charlie Haden's Jasmine It really is something beautiful and confirmation, if any were needed, that these guys are special. Too much to note here, I think I need to start a set of review pages for great music and this will be on it. From what I could learn, this recording resulted somewhat spontaneously and with little if any rehearsal, once they'd agreed some changes. I recall Charlie Haden saying on NPR earlier this year that he was visiting Jarrett's house as part of a film project and he only took his bass along at his wife's insistence that he'd likely want to play when he got there. Well, he did, then they played, and that set in motion a series of events that produced this result, for which we can all be thankful. The music is very accessible but nuanced, and you can get a real sense of your system by listening closely to this and then making a component change - once familiar with this recording, differences are revealed, but that's a bonus; the music here is enough. Enjoy.

HiFi Zine second issue now out

I am pleased to note that despite the nay-sayers who claimed it would fade, issue 2 of HiFi 'Zine is out today, replete with good articles including an interview with James Tanner of Bryston. I contributed a less than serious piece on audiophilia neurosis (though from some folks' reaction I wonder if it is being taken literally) We are thinking through how a mag like this might break down the issue model that ties back to paper publication and might explore some options going forward since many contributors and manufacturers want the article published as soon as they read a draft! Ideas welcomed. Meanwhile, if you have something you'd like to see reviewed or audio insider you'd like interviewed by HiFi 'Zine, drop me a line.

New reviews and music on the way

Labor Day -- must mean it's the end of summer. I just spent a couple of very interesting months with the Digital Amp Co's Cherry Jr power amp. Oodles of power, no shortage of finesse and bass power that never runs out. $2k worth of Class D that is a good as I've heard near the price, makes one wonder just how good their top of the range amps might be. The full review will be in Sept 2010's Affordable Audio [and check the review archive on this page where all reviews eventually are added]. Kudos to DAC for engaging with us - you'd be surprised how many companies decline our invitation yet complain about difficulty obtaining decent reviews. DAC stepped up quickly when I offered the opening. Good products, good people.

Next up is an Eastern Electric DAC, which is a bit of a step for me (not sure if that's back or forward) since I gave up on DACs a few years back (still have that Parasound DAC 2000) before they came back into fashion with the move to computer audio. Bill O'Connell also sent a wonderful (and I mean that literally) Japanese product that 'treats' your CDs with magical light which it is claimed improves sonics. So far I've been making people listen to CDs before and after without telling them what is happening, asking them what they hear. It can be hilarious. More in due course.

The whole CD player future is intriguing. I wonder if anyone other than Oppo are selling many SACD players these days given the firesale prices I see on other lines. Sony might sell a few of their well-regarded XA5400ES model if they actually made some! It's hard for me to think about spending much on any digital front end at the moment, but Sony's thinking on this model is difficult to follow. PS Audio's PerfectWave combo seems to be a genuine attempt to develop a futureproof audiophile solution but even with the current discount, you need to lay out $4k, so I don't think we'll be getting any in for review, unfortunately. If you have one, feel free to drop me a line.

What price the 'audiophile' label?

We all know audio hi-end gear is priced in a manner that defies comprehension sometimes, cables in particular. But sometimes even the cheaper end is harder to fathom. I bought a Cartridge Man digital gauge 9 years ago from the Elusive Disc when I purchased my VPI Aries (I had little choice, they told me I needed a gauge if I wanted to set up the table and this was the only one they had....cue another $250 on the total!). Now maybe you change cartridges every year and need to check tracking force every month or so but not I. Once set up, I employed the gauge maybe two or three times more when I changed cartridges at year 4 and again last year.

I pulled it out this week to check tracking force after a little modding of VTA and the damn thing was dead, even after the required 24 hour charge up. OK, no surprise, time for a new battery (confirmed by a read of the not so well-written manual). Unfortunately, the battery is not user-replaceable and the manual instructed me to contact the US Distributor for further assistance. No slam on the responsive Bill from AudioFeil but what I learned was that this gauge has to be sent back to the UK for battery replacement and 'updating' at a cost of $140 plus shipping to England. Yes, this is a gauge we are speaking of and an almost perfectly functioning one, albeit with a dead battery.

It may be true that the resulting modified gauge would contain a new battery pack that in future I could replace myself, but I find myself wondering why any digital gauge for measuring stylus tracking force would require this amount of work and cost when relatively accurate digital stylus gauges to do the same job can be found online for under $50 new. I guess the others are not audiophile approved. Given sunk and extra costs, I decided not to own a near $500 gauge -- I guess that makes me an audio cheapskate.

DAC Cherry in for review

I have a Cherry Jr from the Digital Amp Company in for review and it sounds like no other Class D I've heard -- and I've had the Wyred4Sound, PS Audio, Nuforce and Spectron amps here for months at a time. Full review scheduled for the Sept issue, all things being equal. In the meantime, check out their forum at Audio Circle to learn more about these products and their designer, Tommy O'Brien. More in due course but right now it's powering my Vons easily.

But this might keep the 'net alive

Ever try to sell hifi or convince others that audio matters? Then enjoy this little video

And can you validate my parking?

The internet is dead, apparently

The artist formerly known as the artist formerly known as 'Prince' has declared the internet dead in a recent article with the Daily Mirror in the UK. Not sure how he imagines a CD cannot be ripped and shared anyhow but I have to admire his strong convictions. I'd be a little more interested in his views if he hadn't chosen a rag tabloid in the UK to host his new release however.

Onward in the DIY stakes

Ok, enough of the bad experience with A'gon, best to turn my thoughts to more positive experiences. I spent a few hours over the last weeks assembling the TB Kit 3.1 speaker. I'll be writing up the process and reviewing the resulting sounds for Affordable Audio next so not too much info here other than to say there is something totally liberating about building audio stuff! Not only does this give you a sense of where the money goes in audio gear, but it seems listening to something that you had a hand in putting together really does make listening more fun. I've been putting the kit speakers through their paces with the totally enjoyable Elekit integrated I assembled back in April, and with an Ebay-sourced old Sansui integrated (soon to do duty in my patio system) and they really do create a sonic picture that is both unique and pleasing. More in due course.

Caveat emptor? Not on Audiogon....

Ok, I've had it with Audiogon. I hate to rant on my own blog but two apparently well-rated Audiogon members both left me in the lurch this week after bidding on my item and when I accepted, promising me the money was 'on the way'. In both cases, the money never arrived (thank you PayPal). Consider the following excuses both issued:

[Member name close to a large breed of dog]"I didn't realize I was so close to maxing out my credit cards"

Wow...you bid on $2k worth of gear and only then realize you don't have the money? And this after you make me measure the parcel size to get you an accurate shipping quote?

[Member name close to Oz value] "Sorry for the late reply. I'm out of the country due to my job and I have no return date yet, so I'm unable to continue with deal."

Oh, you bid, accept my counter-offer price, make arrangements for drop off, and THEN find out you are in another country with no planned return date. You must living in a movie!

Audiogon to the rescue by protecting the seller? Not so. Cleverly, Mr'Ozl' (positive feedback 24) had confirmed the final deal by emailing me directly, not via the 'Gon's mailer. So A'gon feel it's just bad protocol rather than failure to comply on a binding deal (even though for 24 hours I could not mod the ad or update other offers as a formal deal was pending). My attempt to offer constructive feedback on these 'members' is subject to their acknowledgment that I am telling the truth. Now, how likely do you think that will be? I have the full email trail which I'll happily share here if either party feels this is inaccurate but really, when did people become such plonkers?

Meanwhile, if you are in the market for a gently used component or two, and have the funds to back up your promises to buy, please watch for my listings from now on here or on Audio Circle, where there is a better breed of audiophile. And if you are buying via A'gon, congrats, simply following through on your offer might make you that rarest of creatures, a normal buyer. Mr Dane and Mr Oz.....you really should get to know each other.

HiFi Mag launches today

A new online magazine aimed at audio enthusiasts launches today: HiFizine . I interviewed Albert von Schweikert for the inaugural issue and he was very open, as you can see. There are lots of good articles produced by volunteer writers and there is a general open invitation to all to get involved, as the magazine aims to leverage the audiophile crowd's enthusiasm for discussion and analysis. Check it out.

How much improvement in digital front ends?

The Marantz repair, which it turns out from other owners is not unexpected, has forced me to put an old Denon 2900 into service again as my main player for the foreseeable (I am resisting temptation to purchase a new Oppo or Sony for purely financial reasons). First blush, it's a step backwards: clarity lessened, somehow the soundstage is not as real as with the SA11, but, and it's a strange but, over a couple of days, and with a Virtual Dynamics David PC added to the mix, the Denon sounds pretty good. Not so much a lesser Marantz, more a different sonic picture. Of course, the players originated from similar eras, 2004 (denon) to 2005 (marantz) but they differed cost wise by an order of three, at least. Other than sonics, which are better, the Marantz has a far more elegant feel in use and tends to load faster. Still, it confirms my view that money thrown at the digital front end is not as effective as money spent on a good preamp or speakers.

Of course, this is a lesson I should have learned the first time I seriously upgraded a CD player. I'd been a slow adopter, even being lectured by a Naim dealer in the UK when I lived there who like me was a vinyl addict, upon hearing my reaction to his carefully arranged demo of the first Naim CD player (a company slow to launch this line and who trumpeted their audiophile credentials for delaying it until the early 90s) said that if I did not like the Naim then I'd never like CDs. Well, he was wrong, and that early Naim player was an ear-ache to me (Sorry Naim, I love you really). Fast forward to living in the US in early 90s, and unable to buy new vinyl, I conceded defeat and went to buy a CD player. I ended up with an entry level Rotel, unable to tell the difference (again to the dealer's annoyance) between it and his more expensive models. It was fine, for the time, and I still have it, but bombarded by the audiophile media through the 90s that I needed a DAC or a new high end player to really appreciate digital, I succumbed to a two-box Parasound set up. Oh dear. It was really not much better than the Rotel, even though the cable connecting the two cost as much as that player.

Long story short, the Denon 2900 replaced the Parasound, with a simple return to one-box, and sounded better. The Marantz sounded a little better again. How many dollars could I have spent on other parts of the rig with better return? Don't ask. So, just how good is that Oppo?

The fragility of SACD players, perhaps

Addendum to the last post, last night the Marantz started skipping and stopping on the wonderful sounding SACD anniversary issue of Dark Side of the Moon. Ouch....all my ranting about cds might be misplaced (though I still think they are badly packaged!) as it now seems likely the Marantz could be the cause. I located an SACD owners and lovers forum, SA-CD Net which contained a several years old thread outlining problems others have had with their SACDs. Seems it's common enough for players to fail on the SACD layer while reading the red book track just fine. A series of not-terribly helpful back and forths with the Marantz customer contact line has me now packing up the SA11 for shipment to the nearest service center for a check up and hopefully, warranty-covered correction. We'll see.

The fragility of CDs

If anything is going to push me over to the computer audio side in my living room it's the increasing problems I am having with CDs. We know the 'perfect sound forever' claim was never valid but most of us interpreted that as referring to the 'perfect' part, we kind of thought CD was robust but I am beginning to wonder. It's bad enough that 1 out of ever 3 or 4 cds I purchase from Amazon comes with the case split or damaged before I even open it, or that I have to use a knife to get access to the disk with all those sticky layers of 'protection' on the case, now I find CDs seemingly give up the ghost of playing without any cause. Last night my relatively new SACD of the Incredible West Montgomery album (new because I never realized Amazon carried the SACD version (they keep this hidden mostly unless you specify it in format search) so I purchased the album again having lucked on to that), refused to play. In fact, the TOC would not read in my Marantz. I took it out, gave it a quick examination and saw nothing unusual so I wiped it down, tried again and again before popping it into my older Denon 2900, relegated to DVD duties with my TV and always a machine guaranteed to read anything. Sure enough , the blue 'SACD' light came on and the player read it. But still no luck with my main rig. Hum....time for some stronger cleaning. I tried the toothpaste trick -- no luck. So, feeling brave I tried serious buffing before making a copy on my computer for luck. A quick search on the Web turns up all sorts of tricks for cleaning and repairing CDs (including, I kid you not, bananas, coca-cola, erasers, Brasso, and Barkeepers' Friend). Now as I am seriously determined to understand how any of these work I started a regime of trying them. I can tell you that I ended up with no luck and one still largely unreadable SACD. I have no idea what heppened to it but I never manhandled it or let it fall but now I hsve only the Apple Lossless version to listen to so I did what any self-respecting audiophile of a jazz leaning would do, I bought another copy. But I've not given up. There are some serious tools out there for people who want to repair cds and I am going to explore this one further to learn if I cannot resucitate this original. Stay tuned. But let me just say, I never had this problem with my LPs.

Great reads for audio heads

I've been totally enjoying Greg Milner's Perfecting Sound Forever: An Aural History of Recorded Music which offers a history of audio recording from Edison up to the software tricks of modern pop singers. Excellent material of interest to any self-respecting audiophile, including visits to Mikey Fremer's house.


While on the subject of what any audiophile should read, I am a great admirer of Daniel Levitin's This Is Your Brain on Music: The Science of a Human Obsession which I reviewed for Affordable Audio a couple of years back. It's one thing to study gear but to really understand how it all works, you need to understand that machine between your ears. Levitin explains it better than anyone I've read.