I don’t necessarily disagree with sns and, as noted above, the magazine uses several platforms to let readers know what our favorite products are at all price points, both collectively (Editor’s Choice) and individually (Golden Ears.
See? This is the kind of BS logic TAS uses to justify not simply making appropriate comparisons in a review. We’re supposed to weed through Editor’s Choice and Golden Ears lists and then somehow gleen how the review product would compare despite the respective reviews being done in completely different rooms and in completely different systems? Gimme a break!!!
And references to specific competing components do make it into plenty of our reviews.
Uh, really? Do you even read your own magazine? I’d put it at no more than 10%(and that’s being generous) of TAS reviews that provide any kind of useful product comparisons.
But, to state the obvious, the ultimate "reference" for us is "the absolute sound"—live musical performance—and reviews that employ the descriptive language developed by TAS decades ago and that present details of a writer’s subjective experience can also help quite a bit in making a purchasing decision.
But what about recordings made in a studio and made to sound like studio recordings? Are they supposed to sound like live performances too? Are systems supposed to alter studio recordings to sound live the way YOU think the live performance should sound? Bogus! The fact is THERE IS NO ABSOLUTE SOUND except what the recording engineer laid down and how well a system recreates it in a listening room.
And that you’ve constructed some ancient mythical language that somehow is supposed to help a reader weed through a reviewer’s words to somehow magically understand how a product sounds based solely on the reviewer’s individual “subjective” impressions is absurd and precisely why direct product comparisons are so helpful. Many is the time when writing a review I thought I had a product’s sound nailed only to have at least some of my impressions shown to be partially or completely wrong upon substituting a competitive product. Had I written reviews based solely on my own “subjective” impressions almost all my reviews would’ve been incorrect or at least somewhat misleading to readers. That’s precisely why publications like Soundstage! REQUIRE a comparisons section in every review, and each reviewer needs to have a comparable component in their system or they don’t review the product. Product comparisons improve accuracy and usefulness of reviews to readers and holds reviewers (and the magazine) accountable for their observations, but we certainly can’t have any of that TAS world now can we? Plus, it’d involve so much more work and effort on the part of the reviewer meaning you couldn’t crank out as many reviews - oh the horror!
But @aquint by all means feel free to keep twisting yourself in knots trying to defend and justify TAS’ outdated and relatively ineffective review policies. As someone mentioned above, in a world where quality audio dealers are few and far between people rely on product reviews now more than ever and thus need ACCURATE AND ROBUST reviews to help them make purchase decisions, and flowery rhetoric waxing poetic about what a reviewer “thinks” they hear without any stated checks and balances is basically useless and self-important drivel.