I read with interest Art Dudleys review of the Galibier Quattro Supreme in the October Issue of Stereophile. Once I got past his tedious, Brothers-Karamazov-like saga that began the article, I could tell almost immediately by Arts tone, and his initial use of a Graham Robin tonearm, that he was not enamored with the Quattro. Thats really too bad.
There are a number of really fine turntables on the market today from Galibier, Teres, Redpoint, Verdier, Pluto, La Luce, Transrotor (their high-end models), and Kuzma Stabi, just to name a few. I would even include the Clearaudio Maximum Solution with the Clearaudio TQ-1 Tonearm among these aesthetically pleasing and sonically talented over-achievers. Are any of these turntables the absolute best when compared to the Rockport Technologies System III Sirius turntable and tonearm, the SME 30 turntable with the SME Series V tonearm, the Basis B turntable, or the Walker Proscenium Gold Signature? Beats me. All of these turntables, including the Quattro, are so far beyond my budget it would be like asking me which exotic sports car is the best in the world by having me read reviews about them. And even if I could take these wonder cars for a test drive, I am in no position to evaluate them properly. So it was with Art Dudley and the Quattro Supreme.
What really is the extent of Arts knowledge? In his review of the Graham Robin tonearm, he openly admitted to having only three turntables on hand for testing, one of which was the Linn and two of which were clearly budget-oriented components. Although the Linn is an okay table for the money, it has not been a world-beater for quite some time. Furthermore, considering its cost for the fully loaded version, it doesnt represent a particularly good value anymore. Moreover, I am sure most of you have noticed a bias in Arts writing, which favors British-made audio components, much the same way Harry Pearson loves to ramble on favorably about VPI turntables, as was the case in the latest TAS issue.
Forget about "correct" PRaT
PRaT is what makes you want to dance, or nod your head, or tap your feet, or wave your arms: it is biological
Only a truly awful musical ensemble
will fail to get the rhythm, and the equipment which fails to retrieve it from a recording is, quite simply, a failure. -- Johnnantais
Far too much is made of pace, rhythm, and timing; I see this often in product reviews. PRaT, while important, is not the only factor to consider in a turntable. Speed consistency, wow and flutter, rumble, freedom from sonic feedback, reliability, stability, sonic balance and neutrality, musicality, system synergy, ease of use, size, cost, and aesthetics these are only some of the parameters that need to be considered carefully when one purchases a new table. To use PRaT as the deciding factor as to whether a component is a Class A contender or only an also ran is a gross oversimplification. But apparently that is what Art did. His article showed us his overall lack of experience with turntables of exotic design; it showed us his lack of understanding of the Quattro Supreme in particular; it showed his unwillingness to take the time to give the Quattro a thorough test with a good tonearm, like the Schroder, which did occur after one was provided for an audition that was far too short; it showed his sophist tendencies, his interest in being an iconoclast, his preference for turning a cute or interesting phrase at the expense of a fair and balanced review. Such a review, while useful for prospective customers, is rather pedantic for those who thirst for literary flare.
As for a shootout, I am not in favor of one. It would not give each turntable manufacturer the best opportunity to show off his or her product in a favorable light. What might be more useful would be to create a situation in which manufacturers could come to demonstrate their latest inventions using an audio system of their choosing in an atmosphere that encouraged cooperation, discovery, inquiry, and non-competitiveness. It would be an art/music fair of sorts, not a sporting event in which the crowd lusts for a winner while the loser is thrown to the lions. In my opinion, there would be no losers at such a show, just a collection of turntables offering different sonic and aesthetic values and attributes to meet the needs of a very diverse analog-loving public.
