The two things that caught my eye though, were that an audio recording engineer was reviewing speakers that are essentially made for home use. And also the way he writes, much different than the usual home AV magazine reviews.
I found this part pretty funny when he talks about professional reviews of equpment:
"As a sidebar before you push your chips across the green felt, I've noted on occasion the noise audio bloggers sometimes make accusing professional reviewers of refusing to give bad marks to audio gear. Overlooked in their hyperventilation is the consistent fact that reviewing lousy gear has all the allure of kissing your sister. Or worse. I have noted on occasion that some audio reviewers enjoy being wet blankets. Perhaps for them the thrill of it all is the negative joy of dispensing bad news. On occasion any reviewer of longstanding inevitabIy inherits pieces that fall short. I suspect, however, some scribblers feel they take on new authority by dumping. No doubt human nature sometimes imitates our canine pals who lift a leg to re-initiate old fireplugs. The politics of any professional field needs continuous drainage."
This was an "interesting" statement on the break-in of montitors in general and his experience with the LCR-15:
"Enter serious card shark drama. A year or so ago, Albert Von Schweikert invited me to audition his LCR-15 small footprint monitors. Since Albert is a very enthusiastic man as well as an extremely able and imaginative (adventurous) speaker designer, I was engaged immediately but concerned about the inevitability of full scale monitor break-in time. I've found over a long span of experience with monitors that recommendations for pink noise assistance during break in periods is understated. Like good single malt scotch, great monitors begin with their design and breeding. They are perfected in the use they're given -- with the maturing (the "curing" period) that allows them to fully settle, open up, and finally express with relaxation all those sonic nuances of timbre, tone, pace, pitch, harmony, and wide band width dynamics that reside in well recorded music.
In sum, you don't merely un-box your new monitors and throw them in the mix without care and caution. You nurture them, bring them along . . . worry them a little, a horse trainer might say. Monitors need sonic massaging, but great monitors well-massaged become rare devices not to be parted with. Thus, for months I put the LCR-15s in and out of my central mastering location, depending upon my need for familiar sonic comfort. Like an aging curmudgeon, I relied on the tried-and-true to get me through this or that important project. But, between moments of need for old fashioned traditional comfort (old habits of familiarity and conformity), I eased the LCR-15s into the slot awaiting their curing . . . and I watched them bloom. In truth, I heard them open up and slowly sing songs seldom heard in their specific acoustical location."
In anycase I have never seen a review quite like it, so I thought I'd share.
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