Regarding Mr. Aczel, I think it is worth noting that there were vast differences in his views following and prior to the approximately seven year lapse in publication of "The Audio Critic" that occurred between early 1981 and late 1987, while he was involved with the Fourier loudspeaker company.
The later Mr. Aczel, consistent with what has been said above, believed that all amplifiers meeting certain basic criteria (high input impedance, flat frequency response, low output impedance) sound the same. The low output impedance criterion, btw, excludes most tube amps.
On the other hand, here are some quotes extracted at random from Volume 2 Number 3, published in 1980. These pertain to solid state amplifiers, which certainly meet those criteria:
Re a revised version of the Bedini 25/25:
The sound is, if anything, even better; the silkiness of the highs and the transparency of the midrange are unsurpassed in our experience, except possibly by some -- not all -- versions of the Futterman tube amplifier and one or two solid state prototypes. The bottom end of the Bedini is very impressive for a 25/25 watt stereo amplifier with a single power supply, but of course there are many large amplifiers with all-out dual power supplies that will give you firmer and subjectively deeper bass.
Re The Leach Amp:
We find it beautifully transparent in the midrange, very well controlled on the bottom end, but a bit overbright and glassy on top (our bench tests won't tell us why).
And this comment in the preamplifier review section of the same issue:
Regardless of your methodology, you can't escape from judging subjectively which one of two sounds appears to sound more like music. Or at least more like what you believe to be the true sound of the input. And such a belief can be formed only by listening first to the output of a familiar reference system driven by that input. Which is where we came in.
Mr. Aczel was someone who's reviews and opinions I **wanted** to like and respect. He wrote in what was stylistically an extremely persuasive manner, and his writings always seemed to convey an impression of an intelligent and disciplined approach to component evaluation. Ultimately, though, I found it impossible to reconcile much of what he had to say with my own experiences, and those of others for whom I had respect. Especially in his later period.
Which is not to say that I believe investing $10K in a pair of wires generally makes much sense. In audio, as with most things in life, IMO the truth usually lies somewhere in the middle ground between the extremes.
Regards,
-- Al
