There are three basic points every ad writer should bear in mind. First, no advertisement may tell a lie. Lying in ads is dishonest. It is also illegal, so don't. Second, if you have a really good product, tell the truth about it, in tedious detail…
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Everyone knows that advertising people make more money than ordinary people, but many assume that the high pay is because ad writing is so difficult. This is not true. Low-income people can write advertisements, too, so just in case somebody should accost you on the street and ask you to write an advertisement, here is how you may go about it.
It is not usually wise to invent specifications, except in those cases where it would be difficult for anyone to disprove them.
The Calculated Omission: If the product you are advertising is really quite good in most respects, but has a few less attractive features, play up its positive qualities to the exclusion of everything else. It is bad practice to try and explain that the aspects in which it is inferior aren't really important, because this will only draw attention to the fact that competing products are better in these respects. Publish a factual-looking spec sheet, but omit the…
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Sirs: I do not see how you expect to make a magazine pay off without admitting advertisers, but I suppose you know what you're doing. I hope so, anyway, because after publishing "How to Write an Ad" in your first issue, you certainly won't get any advertisers even if you do decide to accept them.
This kind of thing needed to be said, and I think you chose a perfect way of saying it. Advertisers have been sacred cows for so long that some of them have gotten the impression there is no deceit or misrepresentation they can't get…
Although I still haven't been able to listen to the Cary Audio Design 805 single-ended tube monoblocks that Stereophile praised so highly a year ago (Vol.17 No.1, p.104), I've recently auditioned many other tubed single-ended designs. Undeniably, a good SE design has a distinctive quality of harmony and atmosphere in the midrange that reaches well beyond the average attainment of its solid-state brethren.
Provided that very high sound levels and gut-thumping bass are not required, Tim de Paravicini's small SE amplifier, for example, works just fine with the relatively kind and uniform 6…
The 3.3 ohm amplifier output resistance test
One of the problems for someone auditioning a good SE amplifier for the first time is that all audiophiles have a psychological need to hear a difference. Some audio differences, while important, are quite subtle. Their analysis requires fine equipment, good circumstances, and, in some cases, extended listening. However, when compared with a conventional, solid-state, or push-pull low-impedance tube amplifier, a single-ended tube amplifier will always sound substantially different. This is due to the complex interaction of an SE design with…
One of the problems for someone auditioning a good SE amplifier for the first time is that all audiophiles have a psychological need to hear a difference. Some audio differences, while important, are quite subtle. Their analysis requires fine equipment, good circumstances, and, in some cases, extended listening. However, when compared with a conventional, solid-state, or push-pull low-impedance tube amplifier, a single-ended tube amplifier will always sound substantially different. This is due to the complex interaction of an SE design with…
Test 1, WATT V: The Watt V is nominally a 5-6 ohm loudspeaker. The calibrated loss in loudness due to the simulated source resistance was therefore a substantial 3.6dB. (Note that with an even-lower-impedance speaker, the output impedance of a tube SE amplifier will result in an even greater loss in loudness.) No sense could be made of the comparison, so I raised the volume by 4dB to match the subjective loudnesses.
What a fascinating result! The resistor feed dramatically shifted the tonal balance of the Wilson WATT, with the general view that it now sounded more like a free-field-…
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These anecdotal tests only go to show the remarkable complexity of sound-quality changes that can result from using an amplifier with a significant source impedance. Even experienced critics—sorry, I do place myself in this category—find it very difficult, if not impossible, to separate these physical and acoustic interactions from the overall perception of sound quality. We have to accept that moderate tone-control effects—unfamiliar response changes over limited sections of the overall frequency range, allied to changes in level—can significantly alter perceived sound quality…
These anecdotal tests only go to show the remarkable complexity of sound-quality changes that can result from using an amplifier with a significant source impedance. Even experienced critics—sorry, I do place myself in this category—find it very difficult, if not impossible, to separate these physical and acoustic interactions from the overall perception of sound quality. We have to accept that moderate tone-control effects—unfamiliar response changes over limited sections of the overall frequency range, allied to changes in level—can significantly alter perceived sound quality…
Sidebar: Sonic Speaker Tailoring
It's not readily appreciated that a loudspeaker's treble balance exercises a powerful control over perceived clarity, right into the midrange. The perception of a loudspeaker's quality hinges strongly on the balance the designer has achieved between the midrange and treble levels—both in the on-axis frequency response and in the acoustic power delivered to the room.
It's not readily appreciated that a loudspeaker's treble balance exercises a powerful control over perceived clarity, right into the midrange. The perception of a loudspeaker's quality hinges strongly on the balance the designer has achieved between the midrange and treble levels—both in the on-axis frequency response and in the acoustic power delivered to the room.
This is very critical, and if a speaker system lacks sufficient clarity, the designer may be led, intuitively or deliberately, to lift the treble power to improve things. It is amazing…
It was 20 years ago that I began audio reviewing as a second career. It was also 20 years ago that I made my first very expensive audio purchase: a pair of Infinity RS-1b speakers. The RS-1b was a landmark speaker in its day, and very costly for the time at $5500/pair. (I think my dentist has just spent more than that on a TV.) In retrospect, the RS-1b was an extraordinary value. With four large towers, more than 30 drivers, and a servo network and a passive crossover, the Infinity RS-1b resolved a significant amount of detail, was capable of large dynamic swings, had pinpoint image…
The bass performance of the little Primus 150 excited me. On "Feel No Pain," from Sade's Love Deluxe (CD, Epic EK 53178), although the synth bass drum lacked bottom-end extension, the synth bass lines were natural, fast, and clean, with great authority, dynamics, and clarity. On rock recordings such as Gary Wilson's "When You Walk Into My Dreams," from You Think You Really Know Me (CD, Motel MRCD 007), Fender basses were quick, natural, and forceful. Ray Brown's double-bass solo on "I'm an Old Cowhand," from Sonny Rollins' Way Out West (CD, JVC VICJ-60088), was so natural and vibrant that I…