Ah ... the written word ... it can sometimes be our worst enemy. Ask me how I know this ...
It was surely brave of Dan to try to summarize his experiences of his weekend: sleep deprivation, jet air travel, strange systems, etc. As time rolls forward, I'm sure we'll have more folks posting opinions that diverge by 180 degrees from Dan's - or maybe it's 540 degrees ... when one's head starts spinning, it's difficult to count the revolutions. I look at all of this as an expanding pie, and look forward to more comments - irrespective of which manufacturer "wins" - we all win ... including the consumer.
Not to put words in John's mouth, but he had one other major advantage over Dan ... having more than a casual a familiarity with both Chris' and my systems.
This brings up a consideration about auditioning analog in unfamiliar systems. Last week, I had a discussion with someone who asked me if anyone auditioning my gear ever brings a CD or two to play ... to help in triangulating on my system's general characteristics. No one has done this to date, but I will make a point of suggesting that people do so in the future.
We all know that digital front ends can be as variable as any component in the signal chain. Choice of DAC, grounding strategy, distortions in the form of jitter, variations in the analog output stage can all (to name a few) produce an entire range of sonic pallets. Still, there are some constants about digital that can be instructive in terms of auditioning analog, and this point is a wise one to consider.
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One thing to come out of this thread is the reinforcement of an alternative distribution model - what David Robinson of Positive Feedback calls "Craft Audio". I prefer the term "Artisan Audio", as the former term connotes basket weaving to me. The concept is valid however, with people like Nick Doshi (who built Doug's preamp) garnering a grass roots following. This model is by no means a new one, but public discussion makes it more "real".
To me, the relevant aspect of this model is not so much that Nick, Chris, or I are more talented than designers working with larger companies. This may or may not be the case. There are two attributes of this small manufacturing model that have the potential to confer unique advantages however: (a) price/performance, and (b) niche appeal.
The first part has to do with the pricing structure - the fact that every dollar spent on product development translates into fewer dollars at the retail level. The second aspect is that smaller manufacturers can follow their own song, knowing that if they are true to themselves, that their referral network will grow, and that like-minded individuals will seek them out (if you build it they will come).
Please don't take this pricing advantage as anything but a theoretical one. We have all seen too many components loaded with expensive, boutique parts that sound like drek. The small-scale designer could easily be tempted to load a preamp up with $10 Vishay resistors, but at the end of the day, he still has to be (a) competent, and (b) know what music sounds like. I have heard all too many fabulous components which were assembled with what are essentially floor sweepings to know that the chef is as important as the ingredients.
There are quite a few products in the traditional distribution network that are both outstanding performers as well as offering great value. Recently I auditioned a single ended amplifier by Quicksilver Audio - an amplifier in its late stage of prototyping which is projected to retail for $2K. If this amplifier gets the respect it deserves, it will cause the manufacturers of quite a few 5 figure amplifiers to sweat.
I've admired the work of Quicksilver since the 1980's, and finally got to meet Mike Sanders after last year's RMAF - with him having moved to the Colorado Front Range (relocating Quicksilver from Reno, NV last year). My earliest impressions of Quicksilver (dating back to the mid 1980's) were of an honest company which produced products that sold for more than a fair price - a company that always emphasized classical design techniques and values - hard-wiring, conservative operating points, reliability, and support. In short, they're my kind of company. What I did not know about Mike until meeting him is that he has really been working to push the sonic envelope as of late.
I use Quicksilver as an example of a company that offers incredible value while following the traditional distribution model because I have had the opportunity to follow the company - first, from an outside perspective, and now getting to know the man behind the product. Two channel audio is being killed by charlatans (you know who you are), and if honest companies like Quicksilver get their due, then two channel will survive and the music lover will benefit. I think it's safe to speak for Chris that we'd both be honored to be thought of in the same category as companies like Quicksilver.
Cheers,
Thom @ Galibier
