“Me too” hi-fi
When I uncovered this article I was surprised to find that, despite its contemporary feel, I wrote it back in October 1990. Some things seem destined to remain the same, it seems.
Things definitely ain’t what they used to be. Certainly not in the world of hi-fi. With a mere handful of notable exceptions, most of them expensive, there’s been few products that were truly exciting released in the past few years. Many have called the eighties the “me” decade. As far as the hi-fi hobby is concerned I think a more suitable appellation would be the “me too” decade. The majority of companies have been playing safe, sticking with formulas and variations on all too familiar themes: the excitement to be felt in times previous has all but vanished.
But thankfully that situation looks like changing. Some companies are rekindling the flame of adventure by launching equipment that perhaps in spite of limitations or compromises nonetheless gets right to the essence of music and in so doing removes the necessity for the listener to analyse himself into a stupor searching for the product’s merits in order that it can be appreciated or enjoyed. Instead their presentation is immediately captivating, quintessentially and fundamentally correct. Perhaps there is room for criticism of aspects of the performance but such considerations become insignificant in light of the way the equipment allows the listener to delve into the music and become bewitched by its spell.
In the past ten years such products have been infrequent visitors to the sensible price bracket arena. Certainly there have been pieces of equipment that sent the blood coursing through the veins with indecent vim and vigour: the Naim NAC52 preamp is a prime candidate for the number one spot in this respect, but let’s be honest and admit that not every music lover can aspire to a preamp that will relieve them of over £4000. What I’m thinking of are products in the budget to mid-price category that are within the reach of the majority who are bitten by the hi-fi bug but who have no wish to devote all their disposable income to supporting their habit.
If I think back to my days in hi-fi retail there were many such products. The one that always comes to mind is the Mordaunt Short MS20 loudspeaker. Here was an unassuming little two-way with no pretensions, airs or graces. It had no high-tech features to mark it out as being anything special. In fact, it was distinctly low-tech and ordinary. As was the original Acoustic Research AR18 with its paper bass/mid unit and awful loudspeaker cable connectors. Yet both these speakers possessed that spark of magic that allowed music played through them to communicate in a manner that couldn’t be replicated by their competition. Put either of these speakers on the end of a half decent system and the music sprang to life, involving the listener immediately. All considerations of a technical or hi-fi nature sailed out of the window: all that mattered was the music.
What happened to them and their ilk? Mordaunt Short discontinued the MS20 and AR “improved” the AR18 until it was unrecognisable as its former self. It became bland and boring. Which meant that it fitted in nicely with its competition. The face of the hi-fi consumer changed. From being a discriminating animal that demanded a varied and tantalising diet it became a slothful fast-food muncher that would happily feast on anything it was offered. The situation had a parallel with that of the “criminals” in Tom Wolff’s Bonfire of the Vanities: they were not real villainsÿ just unfortunates who had stepped on the wrong side of the line between right and wrong. But their presence was necessary to maintain the status quo: the legal system existed to punish wrong doers, therefore it needed wrong doers in order to exist. The system needed to be fed. In the absence of real criminals any old miscreant would suffice.
And so it seemed to me to be the case with hi-fi throughout much of the eighties: the system needed to be fed. And what a meal it got. If I sound cynical then forgive me, but my cynicism hardly compares to that of many manufacturers. A perfect example is that of equipment supports. The Sound Organisation came up with their turntable stand – a brilliant and innovative product. How did the industry react? Did it try to better what the SO had done? No, it cloned the table or tried to turn out cheaper versions. Did they sound better? Not in my opinion. But they sold, and in vast quantities. Fast food for turntables! The Sound Organisation’s chateaubriand was soon surrounded by hamburgers. Its pioneering spirit drowned in a sea of uninspired commercialism. It took years before anyone brought out a table that significantly challenged or bettered that original design.
Which brings me, in true Barry Norman style, rather neatly to my second observation. With products like the MS20, AR18, and SO table there was never any real need for protracted listening to appreciate their merits. One could A/B the MS20 against any of its competition and decide within thirty seconds that it was the most musical speaker. There was no hesitation or argument from virtually any of the customers to whom I demonstrated that speaker. After a few bars they would declare “that sounds right”. No analysis, no intellectualisation, no profound discussion. The MS20 played music with realism and conviction, the others didn’t.
And that is how it ought to be. There should be no need for a customer to spend hours agonising over the choice between a handful of £100 speakers – or anything else for that matter. Either a product communicates or it doesn’t, and that fact should be apparent from the word go. My days on the shop floor convinced me that if one needed to spend hours comparing two products then neither of them was worth the effort in the first place. In the “me too” era that was all one could do: the choices were bland versus mediocre, okay versus alright, and not very exciting versus inoffensive. Some choice!
But the good news is that the weather looks set to improve. A rogue gust of wind has blown through the arid wasteland that was hi-fi, fanning daring and creative flames flickering in some quarters. For example, Mission’s new low-cost speakers and Pioneer’s A400 minimalist integrated amplifier are the kind of products that you don’t have to audition until closing time to come to the decision that they make music. That fact hits you right between the eyes the minute they start playing.
In today’s economic climate it would be a foolish manufacturer who didn’t try to answer this sort of challenge. Times are tough and products like these will relegate all the “me too” and uninspiring lines to the dusty corners of the stock rooms. When the MS20 was available I hardly remember selling any other speaker at the same price – despite having a comprehensive selection of competing models in stock. When it was withdrawn the long, painful demonstrations began again.
And as I said before, if it takes you more than a couple of minutes to decide whether a product is worth your money it isn’t. If it plays music you’ll recognise that fact instantly. Now, at last, it looks like there’ll be some affordable products in the shops to demonstrate that point convincingly. So stand by your beds: if we’re lucky we might be heading for the good times again!
