VPI Industries Traveler turntable Page 2

Though Weisfeld had wanted to equip the Traveler with a unipivot tonearm like the JMW Memorial, doing so would have significantly increased the turntable's price. Instead, he devised a 10"-long, spring-loaded tonearm with a gimbal bearing. Aluminum, stainless steel, and Delrin are used "in the right places" for strength and rigidity. Pins of hardened steel fit into V-shaped bearings of sapphire, permitting motion in the vertical and horizontal planes, while springs maintain tension on the bearings during play; according to Weisfeld, there is essentially no motion in the audible range. While the gimbal bearings are cost effective, they nevertheless allowed Weisfeld to design a tonearm that would be accurate, quiet, easy to use, and exhibit outstanding manufacturing consistency—every arm, he says, is exactly the same. Lastly, Weisfeld feels that a 10" arm produces less skating force and less tracking distortion than the typical 9" design.

Like VPI's popular Scout turntable, the Traveler stands on four aluminum cones, but trades the Scout's steel-ball tips for rubber-compound surface contacts. A small name badge is applied to the Traveler's low front panel. I would prefer a more discreet screen-printed or etched design on the top of the plinth; as it is now, the badge seems an afterthought that I was often tempted to peel off. Otherwise, the Traveler has a solid, no-nonsense appearance. It looks like a machine.

Like all VPI products, the Traveler is manufactured in the US, using as many US-made parts as possible. Even better, it's made in New Jersey—just like me.

Setup
The Traveler comes packed with everything you'll need to successfully set it up and mount a cartridge on it: two drive belts (one is a spare), two sizes of hex key, a spanner wrench, three sizes of cartridge-mounting screws with washers, a cartridge-alignment jig, and a Shure SFG-2 stylus-force gauge.

Nevertheless, my first attempt at setting up the Traveler was not entirely successful. Following the instruction manual, I placed the Traveler atop my Polycrystal equipment rack, made sure the 'table was level, placed the platter on the bearing shaft, screwed the aluminum spindle into the shaft, tightened the spindle with the wrench, fitted the rubber drive belt around the platter and motor pulley, connected the supplied AC cord to the Traveler's rear socket, and gently slid the tonearm assembly into place. All that took about two minutes. Then I got to the part about mounting the cartridge. Which is when I got scared and decided to take a break.

I spent the next few weeks learning how to properly mount a Dynavector DV 10X5 moving-coil cartridge on my Rega P3-24. (Read all about it in this issue's "The Entry Level.") When I'd mastered that fine art, I brought my newfound skills to the Traveler. Working leisurely and deliberately, I disassembled the Traveler, started over, and managed to have the 'table ready to go in almost exactly one hour. It wasn't at all difficult, and I feel certain I could now complete the job in about half that time. The Traveler's manual is written in clear, simple English, includes helpful illustrations, and offers encouraging little asides such as this: "Time is better spent listening to records than setting anti-skate on a 10" tonearm." Wise words.

Once I had the Traveler set up, all I had to do was to run a pair of interconnects from the 'table's RCA outputs to the Parasound Zphono•USB phono preamp's inputs. My first choice of interconnect was Kimber Kable's PBJ, but with the PBJs in place and the volume control of my NAD C 316BEE integrated amplifier set at a normal listening level, I heard very strong radio-frequency interference. The unshielded PBJ is particularly susceptible to RFI, so I tried Kimber's more expensive, more conventionally shielded Hero interconnect. With the Heros in place, the RFI was less prominent but still far too strong to ignore. I tried XLO's pretty, purple UltraPlus interconnect. No dice. Then I tried AudioQuest's Sidewinder. This reduced RFI to a level I could stand, but I still wasn't happy. Finally, I ran a length of cheap RadioShack Megacable speaker wire (catalog #278-1273, $24.99/50') between the Traveler's and the Parasound's ground terminals. Now, with the AudioQuests in place, my system was dead quiet; I did all of my listening with the Sidewinders. Later, for a laugh, I removed the ground cable and tried using RadioShack's stereo patch cables (catalog #42-487, $6.99/3' pair) to connect VPI to Parasound. Worked like a charm. Go figure.

Listening to records
I had used Drake's Take Care (LP, Cash Money/Universal Republic B0016280-01) to adjust the Traveler's arm height during setup. Since that record was already on the platter, I decided to begin my listening with its title track. Right away, I noticed several interesting things. First, the song's opening piano parts sounded far more delicate, natural, and controlled than I'd ever heard. Rihanna's voice shared that delicacy, had impressive texture, and was large and solidly placed at the center of the soundstage. While the LP's normal surface noise was as audible as ever, that noise was noticeably distinct from the music, as if the Traveler were somehow brushing it aside to the edges of my listening room, leaving more space for pure, clean sound between my speakers. Bass was more forceful than I'd anticipated, but never intruded on the rest of the music. And, at around 3:15, I was shocked by the amount of space surrounding Gil Scott-Heron's overdubbed vocals and their accompanying reverb trails.

I listened to Take Care from beginning to end, all the while astonished by how something so familiar could sound so new. The finger snaps that keep time throughout "Shot for Me" were crazily present, forceful, distinct, and fun to follow. In "Make Me Proud," the starts and stops of Nicki Minaj's rapid-fire rapping had eye-blinking impact and precision. In "Marvins Room," the clarity of such low-level details as subtle breaths, pauses, and sighs allowed me to more easily sense the sadness and desperation in Drake's tone. Similarly, the Traveler's outstanding low-end control and awesomely silent backgrounds helped make sense of the rumbling synthesized bass and warbling electronics in "We'll Be Fine," turning into music what I'd previously heard as mere sound.

I shook my head, reached for my cell phone, and began sending delirious text messages to audiophile friends. And while I was wary of too quickly jumping to conclusions, sharing my thoughts allowed me to focus on an aspect of the Traveler's sound that would persist throughout the review period: It had the confident, relaxed fluidity of open-reel tape.

Whenever I've heard reel-to-reel tape, I've been impressed by the format's drama, impact, immediacy, presence, and, most of all, its seamless fluidity. Music simply flows into the listening room undisturbed, with no hint of mechanical edge or artifice. The expense of restoring an old tape deck and building an entirely new music library has always been enough to erase any thoughts of experiencing that same sound in my home. But with the VPI Traveler leading my system, I wouldn't need an open-reel player: I could get a taste of that smooth, easy fluidity right from my LPs.

"Intoxicating, almost magical." Indeed.

Against the Regas
Initially, I compared the Traveler with my Rega P3-24, both 'tables equipped with a Dynavector DV 10X5 moving-coil cartridge ($450). That comparison didn't last long: The Rega was no match. Compared to the Traveler, my dear old Rega ($1270 without cartridge; now discontinued) seemed little more than an expensive toy, sounding small, distant, and vague. The Rega conveyed all of Drake's words but not his desperation. And while I'd always appreciated the P3-24's warm bottom end, that warmth now sounded soft and dull when compared to the Traveler's clarity and control. Through the Rega, "Pablo's Heart," from Four Tet's There Is Love in You (LP, Domino WIGLP 254), sounded loose, ragged, and frenzied, as if the 'table had to struggle to keep the highs and lows moving together in time.

Next, I compared the VPI-Dynavector combo with Rega's new RP3, equipped with its standard Elys 2 moving-magnet cartridge ($1095). The RP3 sounded significantly cleaner, leaner, and more engaging than my P3-24, but still lacked the VPI's clarity, presence, and authority. Replacing the Elys 2 with the Dynavector DV 10X5 enhanced the Rega's scale, immediacy, and impact, but not quite enough to match the VPI.

Through the Traveler, "Woman Left Lonely," from Cat Power's Jukebox (LP, Matador OLE-10793), was easily the best reproduction of that recording I've heard: spacious, open, silky smooth, and well controlled, voices and instruments occupying distinct spaces on a wide, deep soundstage. Musical timing and flow were also excellent. There's a brief passage in this song when the voices, guitars, and keyboards drop out, allowing the drums and bass to gently sway together. If the timing isn't right, the passage can sound a bit confused or disjointed; the drums and bass stretch too far apart and the melody is lost. The VPI, however, kept time perfectly, held strong to the melody, and allowed the song to roll along smoothly and confidently.

For its part, the Rega-Dynavector combo sounded just a bit faster and hurried, less at ease. And while the Rega did a fine job of distinguishing voices and instruments within its shallower, narrower soundstage, the VPI-Dynavector did a better job of infusing those voices and instruments with purpose, meaning, and life. Chan Marshall was brought more clearly into my listening room [swoon!], and images in general were rounder, fuller, more three-dimensional. Interestingly, the Rega consistently produced the more aggressive, more precise imaging, with seemingly faster transients, for an overall sound that was snappy and exciting. But the Traveler's more leisurely, deliberate way of making music—its smooth, easy sound and steady, confident pace—kept me listening longer, wanting and needing to listen to LP after LP after LP.

Whatever makes you happy
Too often we're afraid of doing what makes us happiest, afraid of even spending the time to figure out what would make us happy. And that's a shame. We fail to realize that, by making ourselves happy, we make those closest to us happy. Love can be a selfish thing.

When Mathew Weisfeld was a child, his mother, Sheila, discouraged him from becoming too deeply involved in high-end audio. Rather than persuade him to join the family business, she encouraged him to follow his dream of becoming a teacher. Sheila, too, had been a teacher (of high school English), but had given up the profession to raise a family and join Harry in leading VPI. Sheila was soon answering customers' phone calls, taking orders, processing invoices, and building a strong dealer network—all while packing lunches. She loved her work and loved her family. To anyone who had the pleasure of speaking with her, that much was obvious.

In January 2009, Mathew Weisfeld accepted a full-time position teaching high school technology, but insisted on continuing to help out at VPI in whatever ways he could. It wasn't until his mom became sick that Mathew took on a more active role with the company. After school, he'd go straight to the factory to answer calls, respond to e-mail, and learn more about Sheila's everyday tasks.

For a time after Sheila passed away, Harry Weisfeld found little pleasure in the business—the fight against cancer had taken its toll on him, too—but Mathew knew that, in order to keep his mother's memory alive, the family would have to keep VPI alive. He convinced his father to build a turntable that would be affordable enough for younger listeners, yet good enough for the most demanding audiophiles. His mother would be proud.

From time to time, I'm drawn into boring conversations about the relative sonic merits of CDs and LPs. To me, it's never been about sound. I prefer LPs because they make me happy. A part of me wishes I had accepted Sheila Weisfeld's offer, back in 2008, to listen to a VPI turntable, but another part of me is glad I waited until now. I can't imagine a happier way of listening to LPs than with the VPI Traveler. At $1299, the Traveler isn't merely reasonably priced—it's a remarkable bargain, built to last a lifetime. And it's made with love, right here in the US.

At least 10% of Traveler profits will go to Girl Scouts of the USA, and to the Lustgarten Foundation for research into a cure for pancreatic cancer.

Happiness breeds happiness. Loss has again inspired beauty.

COMPANY INFO
VPI Industries, Inc.
77 Cliffwood Avenue #3B
Cliffwood, NJ 07721-1087
(732) 583-6895
ARTICLE CONTENTS
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COMMENTS
Vogelhaus's picture

Now that's how you write a product review! Well done, thanks for the article! I was very interested in this table when rumors were going around about a new turntable from VPI. 

Et Quelle's picture

But, can an owner remove those hideous feet; put stillpoints or anything? A retailer at the T.H.E. Show Las vegas told me that you can. More importantly, he told me that price has little weight on electronic quality. Which most of us kinda know?

baumer's picture

Stephen, this is the best thing I've ever read of yours, and, in fact I think it's the best thing I've read from Stereophile. Well done.

philipjohnwright's picture

The Kid is the future. Thank you Stephen, lovely article; life first, hi-fi second, as it should be.

MrGneiss's picture

LPs make me happy too.. :-) Great article!!

itsratso's picture

i am going to start saving for this TT. not just because it seems like a good table, but moreso for the story you told. these are the sort of people that deserve the business.

Regadude's picture

Great review Stephen. I really enjoyed reading it!

I have a question about the setup of your Rega P3-24. Did you put a 2mm spacer between the arm and the plinth, to raise the arm? I know from experience, that the Dynavector 10X5 will sound much better with the arm raised 2mm on a P3-24. If the arm is not raised, the VTA will not be correct. 

If you can, try it. You'll probably find that your P3-24 - Dynavector combo has a lot more to offer!

Stephen Mejias's picture

Thank you, everyone.

Regadude, thank you for all your kind comments. Yes, I did use Rega's 2mm spacer with the Dynavector cartridge. I write about that experience in "The Entry Level," also in the November issue. We'll post that column to the website soon, too.

Regadude's picture

Thanks for the information Stephen. I look forward to reading November's "The entry level".

Like yourself, my turntable is a P3-24. If you wish to significantly improve its performance, you could try out a Groovetracer reference subplatter and/or a Michell Technoweight.

I have both. The GT subplatter will widen the soundstage, add detail and make the music "more there". The Technoweight will significantly improve the bass. You will get more bass, and it will be better defined. If you plan on keeping your P3-24, these 2 upgrades really elevate the performance of the table. 

Stephen Mejias's picture

I look forward to reading November's "The entry level".

That column has now been archived here. I hope you enjoy it.

mrplankton2u's picture

The specifications give a rumble figure of  at least - 80db and wow/flutter rating of .2%.

Yes, it was quite touching to find out that you've formed a special relationship with the manufacturer:

"Sheila, I figured, had taken a liking to me. (I'm great with moms.)"

 

-but is it too much to ask that you actually test the product that is being "reviewed" to verify that what the manufacturer is saying about it is actually true in the case of the test sample?

 

Note:

You folks have been drinking your own Kool Aid for so long, you have completely lost touch with what you're supposed to be doing. Just say'in...

 

: )

JohnnyR's picture

"Michael Fremer called the tonearm "a triumph of industrial design" with a sound that was "intoxicating, almost magical.""

Were there any tests done to show us the "sound" of that tonearm? I mean  if a tonearm is going to resonate and add it's own signal to the recording being played then isn't that NOT what we want as a listener? I'm so glad I gave up on turntables and vinyl years ago in favor of an accurate digital playback medium. A lot less costly PLUS it plays back how it was meant to sound. Dinosaur Sterophile strikes again.

 

mrplankton2u's picture

I guess there were no tests conducted in the "review" of this turntable. But at least we have this gem of an observation to make up for it -

 

"While the LP's normal surface noise was as audible as ever, that noise was noticeably distinct from the music, as if the Traveler were somehow brushing it aside to the edges of my listening room,"

 

And in conclusion, this turntable "brushes aside" normal LP surface noise to the edges of listening rooms better than most other turntables...(eyeroll) 

Perhaps Steven can get to work on a glossary of hi fi snob terms/phrases to assist new readers and those who are just not "in the know" with expressions like "brushing aside normal noise to the edges of the listening room" - that is if Stereophile truly wishes to clue its readers in on what the hell its reviewers are talking about... But then, that may just be the point - they really don't want the reader to know what the hell they're talking about or perhaps most likely - they don't know what the hell they are talking about.

Vogelhaus's picture

@mrplankton2u How about you go listen to one, form an opinion not based off a written article, and tell us all about it. It's a magazine man, they're doing their best to describe their experience with music, components and venues that you can't HEAR. [Edit of flame by JA]

mrplankton2u's picture

The whole point of a proper equipment review is not simply to present pure subjective opinion but to put forth some data or facts that support the purely subjective opinion. Your suggestion that I need to go listen to a component to verfiy the claims for myself defeats the entire purpose of a magazine that's supposed to present a "convincing" argument one way or another about the component's quality, value, and degree to which it has achieved its objectives. The above "review" contains absolutely no data or physically reproducible evidence that would back up or tend to back up the claims of the "reviewer". 

Moreover,  a good portion of the "review" write up was devoted to describing the "reviewer's" personal relationship and/or impression of the individuals that produce the product being "reviewed". That clearly calls into question the "reviewer's" ability to objectively and impartially  "review" the product in question. The dividing line between "reviewer" and manufacturer has been completely obliterated.

Additionally, the hostility with which you responded to me does nothing to bolster your opinion or perspective. If anything, it detracts from it as your response contains more animosity than useful, actionable information or credible argument.

smittyman's picture

Well, Stereophile is based on subjective reviews; the reviewer listens and describes what he or she hears.  The 'objectivist' magazines died out quite a few years ago; they didn't do much more than test the equipment to make sure it met or exceeded the manufacturers' claims.  Since the equipment pretty well always matched its specs, the results of their 'reviews' were pretty much a foregone conclusion.  Hard to see any added value there which may explain why they aren't around anymore.

 

Which makes me wonder, if you don't like subjective reviews, why read Stereophile?  And if you're looking for test results, why not just read the spec sheet?

mrplankton2u's picture

Questioning my motives for reading the magazine or electronic version is again, attacking the person - not focusing on the questions raised. So in that context, some of your response is of no use to the discussion. 

And now back to the heart of the matter. I've been consistently raising questions as to why Stereophile employs a signficant number of measurements with some equipment reviews but a complete lack measurements with others. In my view, there is absolutely no legitimate basis for going completely subjective or completely objective. The value of Stereophile's contribution comes when it combines the two. That happens with loudspeakers and to a lesser extent with electronics. But the other products that have  exclusively subjective reviews noting "vast" differences from one product to the next - that have no associated measurements - stand as a clear challenge to the credibility of Stereophile's otherwise "balanced" approach of combining subjective with objective information. If cables, suspenders/footers, power conditioners, DACs, and other similar products are determined to have significant audible differences - those differences should be measurable in some way. There should be some effort expended to explain how the audible difference is produced. When there's a complete absence of effort to explain the origins of these purely subjective differences, that's when credibility breaks down. With speaker reviews, there has been a consistent trend to at least attempt to explain a correlation between what is heard and what is measured. That brings value. And when an attempt is made to explain how construction details/design impacts measured and sensed performance - more value is added  

If anything, I've been consistent in the pages of comments regarding how important some of us feel the balance between subjective and objective is in terms of establishing and maintaining credibility. It's not simply a matter of re enforcing specifications. If a turntable has very low levels of rumble or background noise with a given cartridge combination - what is so difficult about posting a graphical reprentation of noise with frequency when the table is rotating and the tone arm is in its rest position? That is so simple and would take virtually no effort. When a reviewer says the component is absolutely dead quiet when producing soft music passages - you have something concrete and reproducible to back that subjective impression up. This is not rocket science folks. A discrepancy clearly does exist between how Stereophile approaches reviewing different product classes. And this does more to re enforce doubts about Stereophile's credibility than anything else. It cannot be explained away by saying some products can be measured while others can't. Turntables/cartridges for example can be measured extensively but they aren't. There is simply no legitimate explanation for this unless you consider "we're lazy" a legitimate excuse.

smittyman's picture

OK, so I didn't mean my question as an attack - at least not entirely.  Of course what you choose to read is your business.  I just don't understand why someone reads a magazine or other publication whose editoral practices or policies are different than their own beliefs, then complains about those differences.  I don't go to a vegan restaurant and complain they don't serve steak.  You say you are trying to suggest how the content could be inproved and I will take you at your word.  In any case, you are correct that this part of our discussion is off topic.

Where I don't agree with you is the assertion that audbile differences should be measurable in some way.  The old school subjectivist magazines measured everything that was measurable at the time and didn't find anything significant to say; if things measured the same they must sound the same was their position.  But a lot of people thought they heard differences.  So then we get into a vicious cycle; the measurements don't so any difference so anyone who hears differences must be crazy, a snake-oil salesman, etc. on one side; I hear differences in spite of the measurements, therefore measurements mean nothing, so why measure, on the other. (I know you are suggesting that a balanced approach is better and I agree; I'm just stating the extreme positions here.)

There are a couple of other options.  It is entirely possible that there are measurable factors that could substantiate the differences people hear between similar pieces of equipment, but we don't know what they are yet; we might be measuring the wrong things.  It is also possible that the instruments that we use to measure this equipment are not an exact pardigm for how we hear - that microphones and voltmeters do not respond to sound in the same way the human ear does.  Not trying to sound philosophical here, just suggesting two reasons why measurements may not work, or not work as well, on all types of components.  And it certainly suggests that maybe we should be looking for new things and/or new ways to measure.

Having said that, your point that there is an inconsistancy in what Stereophile measures is a valid one.  If they are trying to strike a balance between the two extremes then perhaps they should expand the range of what they measure.

John Atkinson's picture

smittyman wrote:
Your point that there is an inconsistency in what Stereophile measures is a valid one.  If they are trying to strike a balance between the two extremes then perhaps they should expand the range of what they measure.

I agree that it is a valid criticism. The problem is one of resources. The scarcest resource we have as Stereophile is my time. I already work a >60 hour week and, other than a day off here and there, have not had a vacation for several years. For us to accompany our reviews of turntables, tonearms, and cartridges with full sets of measurements represents a major increase in my workload and that just isn't possible. Not an excuse but a reason.

A few years back, we tried a system whereby Michael Fremer would measure the LP playback components he was reviewing and I would do the analysis, but that didn't work out.

And my thanks to you and mrplankton2u for arguing without flaming.

John Atkinson

Editor, Stereophile

mrplankton2u's picture

Valid points but might I suggest you start training reviewers to take on some of your workload. There is obviously some talent and knowledge there. Mikey has demonstrated that he is more than capable of delving into a huge array of intracies in turntable setup. Does John Atkinson have to test/measure everything directly? Why can't he work with other reviewer/writers to establish measuring protocols - supply the needed equipment (which these days, in many cases is pretty modest) - and let them take on a more comprehensive role?

smittyman's picture

I am Canadian and we are required by law to be polite.laugh

GeorgeHolland's picture

We will await a real test of something other than speakers but won't hold our breaths.

John Atkinson's picture

GeorgeHolland wrote:
We will await a real test of something other than speakers but won't hold our breaths.

I don't understand your statement. Not only do I measure speakers, but also preamplifiers, phono preamplifiers, integrated amplifier, power amplifiers, CD and other disc players, D/A processors, A/D processors, computer soundcards, music streamers, etc. I have stopped measuring headphones, leaving that to my colleague Tyll Hertsens at InnerFidelity.com, who has a Kemar mannikin.

BTW, I saw you complaining about having some of your posts deleted. I warned everyone last week that I will now delete posts that, in my opinion - not yours, please note - are nothing more than flames.

John Atkinson

Editor, Stereophile

GeorgeHolland's picture

But you don't test cables or power cords or tweeks because?  Oh yes the "no time" reason. it couldn't possibly be because you know they do nothing but would offend some one if you showed the world that.

I see that JVS stated on a post from the RMAF that you have in your possesion  a BSG Technologies QOL Signal Completion Stage and will review it. Does this mean a full fledged measurment test?  If not then please give your reasons for not doing so. The "no time" reason will not be good enough I'm afraid.

Yes I can see how you tend to stamp out any postings that bring up the topic of greed or the inability of your readrs to be interested in anything other than the staus quo.

John Atkinson's picture

GeorgeHolland wrote:
I see that JVS stated on a post from the RMAF that you have in your possesion  a BSG Technologies QOL Signal Completion Stage and will review it. Does this mean a full fledged measurment test?

Of course.

John Atkinson

Editor, Stereophile

John Atkinson's picture

The BSG Signal Completion Stage has an easily audible effect on the signal and its measured performance suggests why. It's hardly snake oil, as GeorgeHolland appears to be implying.

John Atkinson

Editor, Stereophile

JohnnyR's picture

............sorry but labeling your failure or EXCUSE as a reason just doesn't cut it. So you are saying nobody but you can operate any measuring equipment or aren't smart enough to be trained? Your so called 60 hour work week includes plenty of time to browse and respond to not only Stereophile's forums but other audio forums also. No time to do anything else he says. So busy. EXCUSES. *YAWN* typical Atkinson response. Too busy, can't be helped. Can't leave out testing of a speaker instead and test a cable or magic bowl. Don't know how. Can't be done.........EXCUSES.

John Atkinson's picture

JohnnyR wrote:
sorry but labeling your failure or EXCUSE as a reason just doesn't cut it.

It is neither a failure or an excuse. It is the _reason_ we can't expand our measurement regime. I love my job but I am maxed out. And please note that measuring audio components requires a combination of skill, education, knowledge, and experience that is relatively rare. I was fortunate to have been mentored by Martin Colloms and the late John Crabbe, but I already had a technical education and had designed my own audio equipment and my own test equipment when I implemented the test regime at Stereophile.

John Atkinson

Editor, Stereophile

JohnnyR's picture

I suppose all those people on DIYaudio and Parts Express and other forums must be geniuses then because they do a VERY good job of measuring. If you haven't gotten it written down in a step by step method after all this time, then you are doing it wrong. You could easily train someone in a day how measure using a computer and simple add ons. YOU designed the test equipment that Stereophile uses?  I highly doubt it's being used today. Just fess up that you don't want or don't DARE test cables or magic bowls and stop saying you don't have time. You could have tested 10 cables in the time it took to reply to just MY posts on here Mr Excuse.

John Atkinson's picture

JohnnyR wrote:
I suppose all those people on DIYaudio and Parts Express and other forums must be geniuses then because they do a VERY good job of measuring.

Both those forums are frequented by some of the best audio engineers around, who have decades of experience in designing and testing audio equipment. There are also posters to both forums who demonstrate how easy it is to mis-use test gear.

JohnnyR wrote:
You could easily train someone in a day how measure using a computer and simple add ons.

You illustrate the fact that everything appears simple to those who lack understanding of what is involved.

JohnnyR wrote:
YOU designed the test equipment that Stereophile uses?

I didn't say that. In the early 1980s, I designed some pieces of test gear that I used at that time  - for example, a spl meter of mine was published as a DIY article in a 1981 issue of HiFi News - and in doing so gained an education in measuring.

JohnnyR wrote:
I highly doubt it's being used today.

It isn't but I didn't say that it is.

John Atkinson

Editor, Stereophile

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