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Is your objection to a closed door structured demo or just not playing anything that comes in the door?
Both, although I might place limits on "anything" that comes through the door. Personally if a door is closed when I get there I might not make it back to that room. I also hate to be "locked in" for a set time period while someone babbles endlessly with too much self-importance. I have other places to be.People who really want to hear a specific brand/speaker might tolerate a controlled performance to a degree then they will want to hear their own music. A big point is a closed room might miss some attendees that are not familiar with the brand but might become interested if they get to hear the speakers. I do not know about T.H.E. Show in Newport Beach but in 2013 there were over 240 hotel suites with audio gear at CES and T.H.E. Show Las Vegas. The show was open four days. Do the math. But my point was not MY objection. I am not alone. Exhibitors have been sternly taken to task on this and other forums for demonstrations that were thought to be too controlled.
Sorry I hope you don't think I'm singling you out as I'd really like to know what the balance is between just playing music in a room and some structure. I don't enjoy rooms that don't move the music quickly so I can hear different types. To your point there are 240 rooms and I want to hear something I like. I don't enjoy rooms where the host just puts on music at the end of every cut and doesn't engage the audience. I don't enjoy rooms where there is a personal cut of music being played and it sucks and it stays on for the duration of the cut. I don't enjoy rooms that do not have some sort of structured time to engage and teach about their product. I'd like to see the music available list on paper when I walk into a room. Why do I have to bring music if I know what they have to play. I could go on.
When I was a dealer back in the 80's, I was introduced to a man called Tom Goetz from Atlanta Georgia. He built speakers using the same drivers as all the other biggie companies out there, but had a very simple 6db per octave crossover. All he used was a coil and one capacitor for his crossover. The man could fine-tune every speaker by hand and ear, he was a genius. His speakers blew away everything by Thiel, Vandersteen, and Wilson made. Those were the a few of the biggies back then. So why don't you hear his name as a biggie today?Goetz wanted more dealers, so a friend of mine offered to travel to the dealers and set them up. Even though the dealers heard how good they sounded, all they asked was where are the reviews? Without review,s all these dealers were not interested in carrying them.So Tom boxed two pair up and sent them off to Stereophile and the TAS. Goetz even took out an ad in Stereophile that cost him hundreds of dollars. After three months of no word from the magazines, Goetz contacted the magazines. TAS boxed up their loaners and shipped them back to Goetz. Stereophile finally did the same thing, J. Gordon Holt wrote up a very damaging review that was never printed. He wrote that nobody could ever take these speakers seriously because they were a joke.There were politics back then, politics going on even today. It is very tough to break the politics barrier with your components. Just because you make the very best in the world does not guarantee a favorable review with these reviewers. Tom Goetz was the perfect example.
You mean this Goetz? Read the reviews:http://forum.audiogon.com/cgi-bin/fr.pl?cspkr&1289194539I looked for Stereophile/TAS reviews but didn't find any...probably back issues from the 80's...Best,Anand.
Interesting quote from Jason Victor Serinus of Stereophile, I have yet to see his review of Vapor-Empircal room, but he points out that Peachtree and Amarra used the DSP system that comes with Amarra to tame their room. The Dirac system is also available from Amarra for a couple of hundred dollars, all you need is a mike, which they can also sell, and you have a built in very capable room DSP system. Ryan and Pete and whoever they partner with for the SF show in August should consider this small investment. As I understand it, the same speakers will be at that show.
Jason Victor Serinus liked your room:"As I soon discovered in the Vapor Audio room, don't try to evaluate music sourced from the Antipodes DV music server ($3990) while it's in the midst of ripping files, because sound is compromised. Once the task was completed, a 24/192 reduction of Ivan Fischer's DSD recording of Mahler Symphony 4 exhibited fabulous depth and air, and Shelby Lynne's voice was again worth lovin'. A listen to Reference Recordings' Rachmaninoff Symphonic Dances also showcased the excellent, full-range sound and engaging depth produced by Vapor Audio Joule White loudspeakers ($12,995/pair). Also heard: Clayton Audio M300 monoblocks ($16,500/pair), DAC conversion via Empirical Audio's Overdrive ($6399) and Short Block USB filter ($199), a Final Drive Transformer Buffer ($2999), VH Audio Plasmatron power conditioning ($4000), cabling from Antipodes and Verastarr, and Hi-Fi Racks racks."http://www.stereophile.com/content/show-2014-day-3-morning
Since Stereophile are the purveyors of credibility, does that mean you take back your prior rant?
No.
