As We See It

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"When things go wrong...it hurts me too"

I am writing this copy on a venerable Radio Shack TRS-100 portable computer while flying via TWA from St. Louis to Albuquerque, the very fact of doing so having reminded me of what I wanted to write about in this month's column: hardware reliability. J. Gordon Holt touched on this subject in last June's "As We See It," but I felt it worth readdressing in light of recent events.

The Mystery of Music

The debates may be old, but they're not tired. They rage on with a virulence that suggests there's plenty of life in these old dogs yet. Online forums and Letters to the Editor are filled with them: objectivist vs subjectivist, engineer vs audiophile, double-bind vs doubly blind. The divisions may be artificial or downright specious—false dichotomies perfectly set up for cheap shots—but that doesn't dissuade people from drawing sides, driving stakes into the ground, and firing off volley after volley of accusation and retaliation.

Negative Bias: the Impartial Reviewer

For a subjective equipment reviewer, whose writings are based as much on impressions as on observations, it is very important to approach a product without personal bias. Of course, all of us lay claim to this ideal, and some of us even manage to maintain the appearance of impartiality most of the time. But just under the reviewer's veneer of urbane professionalism and deliberative restraint lies a darker force—a leering hobgoblin of anarchy and mischief which scoops usually forbidden adjectives from a well of calumny and offers them for the writer's consideration as the perfect word to describe what he is trying to express. It's an ever-present temptation to accept the suggestion, because every critic harbors a secret urge to be another Dorothy Parker, trashing mankind's most earnest endeavors with devastating bon mots that will endure long after the writer has ceased to. Most of the time, the reviewer is able to resist the temptation to broadside a product, but some products, and the people they represent, make this very difficult. In fact, sometimes it is impossible.

The Upside of Negative Reviews

Most readers of Stereophile are in it to read about great products—things that make the hobby and art of home sound reproduction exciting. In this respect, reviewers aren't too different—we love sound reproduction and music in general, and products that help bring this to life are the cat's meow. Reviewers that can't respond with this kind of excitement don't have a place writing for this magazine.

"What I Mean..." (review terminology)

As you may have noticed, Stereophile's approach to equipment testing is quite different from that of "mainstream" audio publications. Instead of throwing a bunch of measurements at you, and telling you how we think components ought to sound because of those measurements, we test them as you would: by listening. But we have an extra problem: we have to convey to someone else—you—a feeling for what we hear from that component. It ain't always easy.

When Things Go Wrong...

Michael Fremer's review of the AudioPhysic Caldera III loudspeaker in this issue (p.81) reminded me of a subject I have written about many times in the past: what happens when a manufacturer submits a faulty sample for review. I formalized Stereophile's policy on this matter in late 1988, following both an unfortunate series of reviews in which the samples either arrived broken or broke during the auditioning, and my learning about how much went on behind closed doors at other audio magazines, where reviewers and editors too often appeared to collude with manufacturers.1 I wrote back then that:
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