Regarding Mr. Aczel's credibility as a reviewer, it is perhaps noteworthy that over the years there were in effect two Peter Aczel's. There was the Peter Aczel who published "The Audio Critic" prior to its nearly seven year hiatus between early 1981 and late 1987 (that period closely coinciding with the existence of the Fourier Systems speaker company, of which he was President and part owner). And then there was the metamorphosed Peter Aczel who resumed publication of "The Audio Critic" following that period.
During that second period, as noted above by Mr. Rodman, Aczel fervently maintained that all amplifiers meeting certain basic criteria sound identical. And much of what he had to say in each of his issues was devoted to attacking the high end community and its publications.
Prior to that hiatus, however, his reviews were typified by statements such as the following, which I've extracted at random from a couple of his issues:
Also, fwiw, I auditioned the revised version of the speaker at Lyric's store in White Plains, NY, I believe in early 1983. I recall it as being a decent performer, but not one that particularly excited me.
Aczel was no doubt an extremely gifted, intelligent, and persuasive writer. As I recall his day job was in the advertising business. He was a reviewer that I WANTED to like and respect. Ultimately, though, between the attitude and beliefs he manifested in his later period, his total inconsistency pre-hiatus vs. post hiatus, and the unsettling Fourier saga, I found it impossible to do so.
Regards,
-- Al
During that second period, as noted above by Mr. Rodman, Aczel fervently maintained that all amplifiers meeting certain basic criteria sound identical. And much of what he had to say in each of his issues was devoted to attacking the high end community and its publications.
Prior to that hiatus, however, his reviews were typified by statements such as the following, which I've extracted at random from a couple of his issues:
[The Amber Series 70 amplifier] has a nice, solid bottom; a midrange that lacks the ultimate transparency obtainable at much higher prices but is open and musical nonetheless; and a clearly etched top end that doesn't harden or smear even when the program material has a wide dynamic range and is rich in high-frequency energy.Regarding the conflict of interest with the Fourier company, what Larry said is essentially correct. In fairness, though, the first TAC issue published following the long hiatus, and following the demise of Fourier systems, included a lengthy and very detailed recounting by Mr. Aczel of his side of the story. He maintained, among other things, that when the Fourier I review was written, about two months prior to publication, the company was in the very early stages of being formed, and at that point:
(Volume 2, Number 3, Spring through Fall 1980)
[The Bedini Model 45/45 amplifier] is supposed to be a scaled-up version of the Model 25/25, with everything essentially the same except the bigger power supply. Well, there's one other thing that isn't the same in our opinion, and that's the sound. The Model 45/45 isn't even unequivocally superior to a good sample of the Hafler DH-200, at one third the price, let alone the smaller Bedini or the JVC. Where the Model 25/25 is utterly smooth and edgeless, the 45/45 exhibits that characteristic little transistory zing and hardening, and its midrange transparency and delineation of high-frequency detail are merely good, not great.
(Volume 2, Number 2, Summer/Fall/Year-End 1979)
... there was no working capital to speak of and no idea who would end up owning the company by coming up with the capital. Thus the disclosures made in the article regarding the involvement of "The Audio Critic" and its Editor in the Fourier project were as complete and forthright as the few established facts of the case permitted."One more thing worth noting about the Fourier I speaker, in relation to Mr. Aczel's credibility as a reviewer: Just a few months after its introduction the design he had so raved about underwent major modification, including substitution of a different midrange driver and a different tweeter. The stated reason being that "some driver-related problems that had eluded our attention in the laboratory made its interface with certain rooms unpredictable." (Issue 10, Fall/Year End 1987). If I recall correctly, btw, "The Sensible Sound," not exactly the most hypercritical of audio publications, had panned the original version of the speaker in their review.
Also, fwiw, I auditioned the revised version of the speaker at Lyric's store in White Plains, NY, I believe in early 1983. I recall it as being a decent performer, but not one that particularly excited me.
Aczel was no doubt an extremely gifted, intelligent, and persuasive writer. As I recall his day job was in the advertising business. He was a reviewer that I WANTED to like and respect. Ultimately, though, between the attitude and beliefs he manifested in his later period, his total inconsistency pre-hiatus vs. post hiatus, and the unsettling Fourier saga, I found it impossible to do so.
Regards,
-- Al