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While it never focused on the science of sound reproduction, I'd argue that The Absolute Sound began with with solid journalistic intents: Anonymous reviewers, identified only by their initials, they accepted no advertising money, and IIRC, components were to be anonymously acquired through the same sorts of channels available to TAS readers.
But anonymity could only last so long in the small fish pond which is the high end audio industry.
And there's the matter of obtaining increasingly costly products for review, which subscription fees could no longer cover.
At some point, a decision was made: TAS wasn't about journalism per se, but entertainment. Advertising was accepted, close relationships with manufacturers ensued, and extended loans of equipment became the norm. And having the industry's highest profit margins allowed cable manufacturers to afford the best, most expensive advertising space.
Today, the most valuable asset these audiophile magazines possess is their readership demographic: They have money, and they're eager to spend it.
But anonymity could only last so long in the small fish pond which is the high end audio industry.
And there's the matter of obtaining increasingly costly products for review, which subscription fees could no longer cover.
At some point, a decision was made: TAS wasn't about journalism per se, but entertainment. Advertising was accepted, close relationships with manufacturers ensued, and extended loans of equipment became the norm. And having the industry's highest profit margins allowed cable manufacturers to afford the best, most expensive advertising space.
Today, the most valuable asset these audiophile magazines possess is their readership demographic: They have money, and they're eager to spend it.