It isn't enough to say that engineer Denis N. Morecroft is one of contemporary audio's few visionaries: He's one of a very few mature designers whose passion for doing things a certain way hasn't abandoned him in the least, and whose well-argued convictions seem stronger than ever. Thus, as others cave in to commercethe tube-amp designer who offers a solid-state product just to help his dealers fill a price niche, the source-component manufacturer who rails against digital audio one day and starts cranking out CD players the nextDNM Design remains the likeliest of all modern companies to stay its course.
The best, most enduring audio products have in their favor more than great sound: They have some sense of history as well. Particularly good examples abound from the British companies Spendor, Rogers, and Harbeth, some of whose products were actually commissioned into being by the British Broadcasting Corporation. Better that, I suppose, than existing to fill a price point.
Stereo Review, the world's most popular audio magazine during most of its time on Earth, was a common target of derision from the hobby's so-called high-end press, not least of all from me. We criticized its nerdy, boring prose, its uniformly positive reviews, and, most of all, its shameless pimping of the notions that measurements reveal all there is to know about a component, and that all competently engineered components sound equally fine.
I can't help wondering: how did the mainstream audio press, cheered Dynaco and Marantz and McIntosh and Quad for switching to transistors a couple of generations ago, greet the first tube-revival products from Audio Research and the like? What was the reaction when moving-coil cartridge technology, considered all but dead by the early 1970s, became the perfectionist hi-fi norm just a few years later? And what would the same people make of the fact that a high-mass, transcription-length pickup armwith interchangeable pickup heads, no lessis one of the most recommendable phono products of 2008? The mind boggles.
Three years ago, the idea of a solid-state integrated amplifier that sold for only $1250 yet combined some of the best performance aspects of a Naim Nait and a Dynaco Stereo 70 seemed likely to resonate with consumers and critics alike. And it did: Introduced in early 2005, the British-built Exposure 2010S was an unequivocal hit on both sides of the Atlantic, and remains in Class A of Stereophile's "Recommended Components." Deservedly.
The subject comes up every now and then: Audio reviewers don't write nearly enough negative reviews. One old attention-seeker on Audio Asylum went so far as to characterize Stereophile and our would-be competitors as "happy face" magazines—a joke in which he seemed to take tremendous pride—simply because we hand out a lot of As and Bs. By that logic, assuming that a certain percentage of underachievers is inevitable in any population, our schools aren't handing out nearly enough Fs. (I have a suggestion for where they can begin.)