Are you lot all on the funny stuff![]()
Are you lot all on the funny stuff![]()
For a minute there, Mark, things were getting surreal. Fork 'andles...
I'm fine and dandy, matey... How are you? I hope business is good since you've moved to new premises
Aye, how true is that!!I'm sure DP won't mind he has broad shoulders, after all he's put up with NK for over 10 years, surely he deserves a bloody knighthood for that dedication to the duty!![]()
What new deck have you got then, Tony?
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
Posts: 303
Roy's enthusiasm for 'coherent cable looms' and research into similar technologies has long been one of his USPs as a reviewer, and those enthusiasms carried over into his tenure as editor. Having got a complete set of Hi-Fi+ as part of the job, it's pretty clear where his enthusiasms lie, because two of the first five covers have cables on them.
Roy publicly recused himself from covering Nordost cables when his wife started working (temporarily) for the company. After she stopped working for the company, he started reviewing Nordost products once more. Unfortunately, in making these statements in public, those who see perfidy in everything had a target. Roy resigned his editorship in 2009. I believe his initial role was to work with Al Stiefel on Rocky Mountain Audio Fest and returning to his first love of reviewing, without the endless politics incumbent to editing a magazine. However, Al died suddenly not long after I'd taken over the magazine and Roy spent a couple of months with that 'what have I done?' look before he started working for Nordost. I highlighted the situation in an editorial in the magazine, and consider the matter closed. Unfortunately, history is easy to revise and distort.
My take on all this is Roy's enthusiasm for a foundational approach to audio leaves him exposed to criticism on many sides. The criticism is self-sealing, self-raising and highly contagious. No-one is whiter than white and even the most morally upstanding of us will look dodgy under the forensic gaze of the obsessive-compulsive. And let's face it, audio has more than its fill of obsessives.
If I thought Roy was on the take, he wouldn't be a reviewer for Hi-FI+ anymore. Ironically, because of his role with Nordost, he can no longer cover the products I think he did best - not just Nordost reviews, but his viewpoint on that whole foundational approach that separates the great from the merely good. If he ever decided to sever his connection with Nordost, I would potentially welcome his return to looking over such products again. In truth, I'm not sure he would ever be able to fully shake off his Nordost connection, but again that is would be down to public perception rather than any actual nefarious actions on his behalf.
If you look back at a body of reviews, you are going to see the same names coming up time and again, because people like to set the equipment in context, and because will use products we like in our systems. I remember the Flat Earth days when many reviews were written by people who used Linn turntables, Naim amplifiers and either Linn or Naim loudspeakers. Every review from those writers had a paragraph that began with something like, "I inserted the product into my system, comprising..." and the result was a magazine that had the word 'Naim' printed hundreds of time per issue. The people writing the magazine were (are) sincere in their enjoyment of Linn/Naim equipment and their enthusiasm for the Linn/Naim systems bubbled over in print, but just by listing the products over and over again made it seem 'bent'. It's one of the reasons why I don't tend to list the products in my system unless there are specific compatibility issues that call for a list of products.
Advertising does not buy good reviews. Advertising buys visibility and on an editorial perspective at best buys more of a chance to be put up for a review. The proliferation of brands and products at this time mean we have thousands of products vying for one of maybe 150 review slots per year, so that 'more of a chance' becomes significant.
This doesn't mean advertisers are protected or that non-advertisers are open to bad reviews. A product is given the same treatment, no matter where it comes from. Our lead time for reviews is generally long because I give the reviewer the chance to find out if they dislike the product, and whether that dislike is a clash of tastes (in which case, another reviewer might find the product more acceptable) or whether it's intrinsic to the product (as in, it's a bad product). If it's the latter, we end up sending it back. And yes, products - including products from major advertisers - do go back unreviewed, although I will not be drawn on what they are.
I'd prefer more of a dynamic range to reviews, making public those few bad reviews than simply sending the products back. That's what magazines used to do, and what I used to do when I first started reviewing. But, following a combination of the 1994 Yachting World vs. Walker Wingsail Systems libel case and a substantial out-of-court settlement within the industry itself in the same decade, even constructive criticism runs the risk of a magazine running up hundreds of thousands of pounds worth of legal fees and an open ended settlement if it goes against the mag (the Yachting World pay-out was in the millions). I have no desire to publish a review of a bad product, only to end up funding that company to continue to provide bad products thanks to draining the coffers of the magazine, so I reserve the right to decline to review that product.
Location: Royston Vasey
Posts: 217
I'm AndrewR.
That's fair enough. I take the view that most readers do not necessarily benefit from reviews about bad-performing equipment anyway. It just wastes the reader's time.
Better to spend time reading about what is "good".
Also badly perceived sound quality could be due to a variety of reasons, including partnering equipment with opposing strengths and weaknesses. ....Accidentally reviewing a CD player with great sound-staging and poor timing in a system with great timing and poor sound-staging would produce an unfair result cancelling out the strengths of each.
Then there is the subjective side. What good is it for a reviewer to "roast" a product that does not meet their subjective criteria, if it would put-off many others from enjoying it. It does not do the customer, manufacturer or industry any good.
Andrew
Andrew Randle