Audiophile 101 – Reviewers

Reviews of audio equipment are compromised because reviewers are compromised. They cannot be trusted.

Both print and online magazines are compromised because one never knows if they are writing positive reviews in response to advertising dollars, or trying to solicit new sources of advertising dollars. One thing is proven, that bad reviews chase away advertising dollars.

Online magazines are compromised further by the fact that reviews are ‘linked to’ by the manufacturers of the equipment that was positively reviewed, increasing the magazines popularity with search engines, which attracts more traffic, which allows them to raise their advertising rates.

Reviewers also are compromised by:

1) Having to conform to the stated policies of the magazine they work for

2) If they do not write positive reviews, manufacturers will not want to lend them equipment for the next review

Dealers who write reviews are also comprimised because no one ever knows if they are saying something in order to try generate more sales.

Individuals, which includes reviews at the above mentioned magazines and dealers, are firther compromised because:

1) One doesn’t know if they are an idiot or not

2) One doesn’t know if they are a shill or not [for those that don’t know, and apparaently some do not, a shill is someone who pretends to be an individual but really works for a dealer or manufacturer]

3) One doesn’t know if they are just conforming to the natural human tendancy to praise the equipment they currently own [and disparage that which they no longer own].

4) One doesn’t know if they are just trying to praise, or disparage, a piece equipment because they like, or do not like, its particular manufacturer.

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The point is that all reviewers, and therefore all reviews, are compromised.

They can’t be trusted!

Or can they?

What we can trust is that some reviewers care about their reputation. How they see others see them, and want others to see them.

What we have is:

** REPUTATION-BASED TRUTH **

Both institutions (like magazines and dealers) and individuals (reviewers at those magazines) have reputations – good or bad, or just plain weird.

The argument here is that you CAN TRUST People, and Organizations to more or less behave and write reviews in accordance with their view of their reputation, based on how important that rep is to their personal views of themselves, to their personal self-worth.

——

Take, for another example, TV news reporters.

Edward R. Murrow – apparently [sorry, before my time] had a reputation based on his dedication to telling the Truth.

Some popular networks, and their reporters, have a reputation based on the consistant ridiculing of other’s political ideologies. They can be ‘trusted’ to report in a way that always conforms to this reputation they and their organzation have.

Some reporters whole reputation is built around their ability to get the next scoop, the next Big Story, not having anything to do with the truth, necessarily.

——

So, back to audio,

We have some magazines whose reputation is built on all the published reviews being positive (Positive Feedback [see this recent castigation of non-positive reviews], Inner Ear)

We have some whose reputation is closer to that of Murrow, but which is distorted by what they judge to be ‘truth, but in a responsible manner’ (Stereophile, 6moons). [Here we start entering the domain of serious reporting ethics, the necessity of having to report news without ever having ALL the facts – something too serious for this post, or this website].

[The Absolute Sound and HiFi+ seem to have a mix, there being so obvious, to me, reputation associated with the magazines as a whole, except that of this plurality of reviewers with different types of reputations].

Then you got the ‘Malcontents’, as Inner Ear called them this month [are we malcontents? I hope so :-)]. These peoples reputation vary, sometimes being just ways to publically express their need for anger management, or remedial logic 101, classes. Our rep, as I see it, is that we try to shed light on the very high end in a ruthlessly honest, but inclusive, manner – in a way that seeks ways to explain the what, how and why that the high-end is not just some morass of similar sounding components all rated ‘A+’.

You also got your netizens, who consistantly praise their own equipment as being the very, very best the world has ever seen, and disparage everyone else’s as either ‘been there done that’, or ‘being privy to a special network of only the best audiophiles [i.e. not you! :-)], I have heard that your gear sucks in comparision to my gear’. Their reputation, as they see it themselves, is built upon some variation of everyone thinking that they have the best equipment in the world.

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The point is, they are all behaving in accordance to what they want their reputation to be.

Some people care about their own reputation. Some not so much. The ones that care the most seem to be the more consistant reviewers: Mike Fremer, J.A., Srajan for examples.

But it is not a given that their reviews are ‘better’, or worse, than that of other reviewers. It is just that some reviews can be trsuted to be written to be within the context of the individual reviewer’s, and their organization’s, reputation.

—–

The final point, finally, is that everything DOES sound good and everything DOES sound bad.

Everything sounds good to reviewers who are not all that critical of each single aspect of the sound something produces, whose rep is based on welcoming nearly all components into the wonderful world of high-end audio.

Everything sounds bad to reviewers whose rep is based on being very critical of the sound a component produces, always comparing it to what it ‘could be’, if someone had just put a little more effort into its design and manufacturing.

Power Conditioners

This has been the subject of a few emails lately. Some of you may have noticed the Belkin surge protector in some of our pictures (what we call the Office Depot Special ๐Ÿ™‚ ).

Here is an example of an email that we received from a nice gentleman,

“I perused with interest your Audiophile’s Guide to the Galaxy. In your Power Conditioners, Isolators and Regenerators section, I noticed your following claim:

Typically power conditioners increase dynamics and lower background noise at the expense of microdynamics, emotion and that toe-tapping pacing, rhythm and timing.

I mean this very respectfully, but as an experienced audio / video technician and avid audio enthusiast, I can’t think of any reason why a power conditioner should have any negative effect on microdynamics, emotion, or pace, rhythm and timing. Perhaps you will be good enough to share with me what experience or impart on me that knowledge which has led you to this conclusion.

I enjoyed your web site and will certainly recommend it to others I know.”

First, we thank you sir for your kind words and question.

There are two answers to his main question.

The first is my preferred answer, which is:

* We have tried a number of power conditioners and by far the common result is that we, and many other people, consistantly hear these negative effects.

So, this is that good ole scientific method of performing repeatable experiments and observing the results, The important thing here is that the observation, the ‘measuring’, is done with the ears and not mechanical or electrical instruments.

If someone has the time and genius to create a phsycial model of why power conditioners do this, build the instruments to verify their model, perform the experiements and determine that yes, their model matches the evidence of what we *hear*, then that would be great.

It is this return to first principles, to common sense, that many people [for example those that will not hear differences in cables] we see post on the net fail to recognize in their pursuit of science as religion [you won’t find a more scientifically geeky couple than Neli and I – but true science knows that it does not know, it only hypothesizes testable, verifyiable and often quite useful models of how many things work – but models often need revising if the experimental data requires it, and there are not detailed models for EVERYthing out there yet – like cables and powercords and power conditioners… ๐Ÿ™‚ ], that somehow science, circa 2006, now knows ALL the answers, and if science can’t explain it, then it don’t happen.

So, in actuality, no one knows exactly WHY most power conditoners have this effect.

Eventually someone will figure it out.

But it might not be very satisfying.

For example, the sun warms our skin when we are outside. Why? Because (and I am paraphrasing, and probably not absolutely correct, but follow my point, if you will) the photons from the sun hit our skin, increasing the kinetic energy of the molecules floating around in the epidermous layer by converting the electromagnetic energy of the photon into mechanical energy of the molecule, which our nevrve endings interpret as ‘warmth’.

I beleive that is the model that best describes what happens in today’s scientific gargon, but there are both a lot of holes in the explanation [how is the energy actually transfered from that massless photon when it hits that wonking large molecule? All we can say now, is, that it does. The apples falls when we drop it because of gravity. Gravity is created by the Earth’s mass deforming 4D (or 11 or whatever) space. Why does mass deform space? It just does. ]

.. and it is not as satifying as one might want it to be, as say ‘the sun is sharing its life force with us’, and the real explanation is not often very useful in dealing with the situation: warm sunrays, gravity and power conditioner effect are really dealt with better in the common sense mode: wear sunscreen, don’t jump off tall buildings and don’t use power conditioner indiscriminately.

But, with all that out of the way, and with the reader now knowing full well that I am Making This Model Up – just like everybody else who is not performing real experiments [that can be verified, othrewise we will have them proving gravity does not exist, the sun is not warm, and power conditioners all work wonders].

And it is:

That power needs to be supplied to components as instantaneously as possible, and capacitors, usually found in Power Conditioners, even after being charged up for a few days, absorb charges while simultaneously being unable to release a charge fast enough, and in correct proportion to the request to compete with a straight wire, and also cannot be large enough to release a charge that is FREQUENTLY needed by larger components like amps. Same with coupled transformers.

When the component asks for more current, there is some delay and, primarily, dampening of the magnitude of response in electron flow coming from the wall. The PCs seem more inept at handling small ‘spikes’ in the request stream that major spikes, so that often MACRO dynamics does not suffer as much, or may even be increased.

Hmmmm…. wonder if that was clear. It also helps explain (in my head if nowhere else ๐Ÿ™‚ ) why powercords work – they hold a resevoir of electrons ready to supply the component’s needs instantly.

Oh, and just to finish up, most Power Conditioners, being unable to respond instantaneously to demands for current, these small spikes, in order to render the more subtle details in music is what puts those more subtle details, microdynamics, emotion, at PRaT at risk.

Hope this helpssssss………

[The Shunyata Hydra, that we use here when we they are not out on audition – contrary to Robert Harley remark in this month’s TAS, is not a power conditioner – it is a power distributor. There is nothing in the path of the current getting from the wall to the component. BTW, also contrary to his assertion, the Pyython -sorry wordpress dies on the correct spelling – is not 98% of the Anaconda. No one, not us, nor anyone else would pay twice as much for a 2% improvement. We’re nuts but not NUTS]

More on Number 4 Setup of the Powercord Shootout

We listened to this setup more this morning.

Even awake, which I was this morning, it was a very interesting sound with the Satori on the EmmLabs digital front end and the Elrod on the Edge amps.

The soundstage was quite different from the one we are used to, not at all like the suspension-of-disbelief transparency that makes one be able to squint one’s eyes and see the orchestra laid out in all its glory.

The instruments were indeed where they were supposed to be, but … it was like the information about how things were laid out In Relation To Each Other on The SoundStage was instead replaced with something else…

Now, this is going to sound weird… ๐Ÿ™‚

But it was like it was replaced with information on how things were Related to Each Other in Purpose, or perhaps, to be a little more easy to understand as a strawman concept, Related to Each Other in Time instead of Space.

Listening to Radiohead, it was like each group of distinct notes, I do not know what they call them.. a riff perhaps, or a sub-melody, had its own life. But it was also related to the other riffs, connected by the key they are playing in, by the scale and rhythm they are all part of. And also by this point – counterpoint kind of plat that composers seem to use a lot, scripting riffs both in opposition and support of other riffs.

So, ANYway….

This system caused me, anyway, to be almost forced to be absorbed by these different aspects of the music as opposed to how I normally listen to music, which is to ‘see’ the musicians playing and hearing the music as it passes by, the words, the basic linear progression of the composition.

This is different from the ‘life’ or ‘psychadelic’ nature of the music which the Pranawire Satori added to the mix. And to think it was just adding them to the CDSD and DCC2 that made this change.

I told Neli at the time that it was like a geometric relationship now between the notes and ‘riffs’, but I do not want it to be confused with the traditional distance relationships that the images of the different notes have in a soundstage.

This is more like make visible the multi-dimensional relationships between notes, composed of tone, duration, texture, similarity of note envelope, etc. etc. and, yes, purpose – WHY those notes were composed to be there – as opposed to just where in the soundstage the musicians (or their notes, which may be located elsewhere do to those Wily Soundboarders) are located.

So two questions remain:

How do we get both the Real and this Uber Real in the same system?

and

How does a powercord, so far up in the chain, make such a difference?

Later, we put back the Shunyata powercords, one an old Python, on the Emm Labs, and the transparency and soundstaging was back to ‘Normal’.

Don’t know whether to be happy or sad.

So I’ll just be confused, instead.

And, yes, this was somewhat like our A funny thing happened on Planet Abraxus experience with the Coltrane Supremes at CES 2006.

But where that was a very ‘solid’ extra-dimensional relationship visualization experience, this was a more spiritual,…no, strike that, a more perceptive, deeper yet more ethereal experience…

We need to try the Satori, the Jorma Design ‘Prime’ and the Coltrane Supremes all together sometime…. Then maybe we can get Real, Perceptive and Solid Visuals all at the same time.

Can we handle it? [My daughter is a psych major – will she get her PHD in time? ๐Ÿ™‚ ]