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From: chowkwan@priam.usc.edu (Raymond Chowkwanyun)
Newsgroups: rec.audio.high-end
Subject: Re: Fixed Machines, Adaptable Humans
Message-ID: <8997@uwm.edu>
Date: 17 Jan 91 14:09:05 GMT
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In article <8978@uwm.edu> dafuller%sequent.uucp@RELAY.CS.NET (David Fuller) writes:

>Frankly, I'm more interested in media than equipment and I can't hardly

For you classical listeners, may I commend the American Record Guide?
This magazine is to the classical media what Absolute Sound is to
the equipment.  What I like is that the reviewers will not only
tell you their opinion of a recording but also compare it with
other performances of the same piece.  Also, each issue brings
a survey of particular musical forms or a composer.  
e.g. Piano Trios Overview, Romantic Concertos Overview, 
J.S. Bach Overview, etc.

Caveats: (1) their font is an assault on the eyes and (2) bowing
to market realities, they review only CD's.

>of the listener than the state of the equipment?  What is it that
>makes certain listeners Professionals?  And how are we sure that they are
>not otherwise affected by external influences on the day of review?

The Test of Time earns the title of "Golden Ears".  When Pearson
describes a product and you go out and you confirm with your
own ears what he has found, his credibility goes up a notch.
And then his credibility accrues with each succeeding description
that proves accurate.  Works the other way too, of course.
viz the Armor All fiasco at Stereophile.

Time is also the answer to your second question.  Reviewers do
not base their opinions on a single day's review.  
Bob Greene: One of the most important things a reviewer can do
is to direct the reader's attention to things that might be
potential annoyances in long-term listening.
These guys really sweat over a review.  Trying different recordings,
different ancilliary equipment, various tweaks to get the
best out of the piece under review.

-- ray