The Cutting Edge

e d i t o r i a l
Are Audiophiles Really Music Lovers
This question has probably been around ever
since the term “audiophile” was coined,
but it’s one that deserves re-asking every
now and again. Before I chime in, however,
I’m not going to claim that there’s a
right or wrong answer, or even just one
single answer (though naturally I have my
own rather opinionated point of view).
What I can do is share what I’ve observed
over the past 30 odd years in this hobby
(first in high-end audio retailing and for the past dozen or
so on the publishing side), what writers and readers of this
and other audio magazines seem to be listening to, what I
hear manufacturers demo-ing their gear with at shows, and
what I know about dealer showrooms. And based on these
collective observations I’d say that some audiophiles are true
music lovers, with a wide, eclectic, and limitless thirst for
new musical discoveries, and record collections that reflect
their musically adventurous nature, where sound quality is
important but a distant runner up to musical content. Some
audiophiles are sound lovers, with audiophile “approved”
record collections built from the received wisdom of this
and other publications, where musical content is relegated
to a secondary consideration. Some audiophiles are equipment
lovers, with limited record collections based almost
solely on audiophile label releases. Here, sonic thrills take
total precedence over the music. But I think most audiophiles
fall into another category that I would call limited
music lovers—people who listen to the same stuff, much of
it what they loved when they were growing up, over and
over and over again (with the enthusiastic support of the
audiophile reissue labels, that never seem to tire of reissuing
their reissues over and over and over again). To my way of
thinking this seems backasswards. Presumably (though I
could be wrong), the majority of us got into this hobby
because we love music, and presumably (though here I’m
almost certainly wrong) it’s the constant discovery of new
music that keeps us in this hobby and helps to keep it, and
us, fresh. As an equipment reviewer, even though I’m a selfconfessed
serial-binger (when I get into something, say,
Wayne Garcia
Wilco, or Monk, or my current bender, 20th-century classical,
I plunge in head first), I get bored to tears listening to
the same tracks all the time. And here I must add this:
When I sit down to listen to music I typically (though as
time dictates not always) play entire albums, not just a few
well-worn tracks. I’m astonished when reviewers write
things like, “Over the XYZ speaker system, the music
sounded so good I listened to the entire album!” Wow.
Really Sorry, but I just don’t get it. Did Richard Strauss
really have nothing left to say after the opening fanfare of
Also Sprach Zarathustra Are we so quickly bored that we
need to lift the tonearm or push the stop button as soon as
we’ve had our jollies Are we listening to music or our stereos
The answer, of course, is both—that’s why we’re audiophiles.
Now, I’m all too aware that evaluating new components
means having a benchmark to gauge with, and at some point
in the process it’s not only natural but necessary to pull out
shopworn favorites. The trap for reviewers, though, is that we
not only risk boring ourselves, we risk boring our readers. And
citing the same limited number of discs review after review
tends to make them all read the same. I don’t think I’m alone
in saying that my eyes start to glaze over when I see certain
warhorse titles listed in a review. (I’m sure you can easily write
your own list.) Oh, I’m guilty, too. If not of listing audiophile
clichés then at the very least of relying a little too heavily on
recordings I’ve listed in previous reviews. So I’m challenging
not only my colleagues but also myself when I say, get thee to
the record store, discover some new treasures, and use them in
future audio reviews.
And where to find them In this regard, I’m especially
proud of our upfront music features and back of the book
music section, which typically runs a richly informative 18
pages. Under the guidance of our managing and music editor
Bob Gendron, our staff reviews any number of discs in the
classical, pop, and jazz fields that intrigue me. From each section
I make a list of the titles that seem of particular interest,
and regularly purchase from it. This is partially because as
TAS editor I feel the need to stay informed, but it’s mainly
because I’m one of those guys who have an insatiable thirst for
new musical pleasures.
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