jsrtheta
Addicted to Fun and Learning
I notice in this thread some admiration for Audio Critic. I used to read that publication (a few decades ago?), even though I noticed as close as a correlation between advertisers and the tone of the corresponding reviews that I have ever seen in any paper publication. (I recall that advertisers at that time included McIntosh, Boulder, Eggleston.) I recall that I (wisely or unwisely) excused this at the time, considering the economics of a small publication. Finally, I recall a letter to the editor in which an editor of a competing publication wrote for the sole purpose of paying Audio Critic a compliment. In turn, the Audio Critic editor lambasted him, accusing him of conspiratorially attempting to ingratiate him/herself to the editor of Audio Critic. That was a bit much, and my impression of the objectivity of Audio Critic had been pierced, so I stopped reading it.
Aczel had certain requirements when it came to whose advertising he would accept. He even apologized for taking an ad for an MSB item that he concluded was really just woo. Yes, he took ads from Boulder, but he also demonstrated in his reviews why Boulder was an exceptional product. On another occasion he offered to refrain from publishing a review because it would be extremely negative, and he didn't want to discourage a young designer from learning a bit more before putting out new products. The designer said to publish anyway. Aczel did, and it was a very bad review. Rotel is another manufacturer who advertised in TAC a lot. Rotel mostly makes, and made, good solid gear. But Aczel published Rotel reviews by David Rich that plainly recommended against purchasing certain components. (Rotel continued to advertise in TAC.)
As @anmpr1 noted, TAC improved its ability to review gear when David Rich was brought on board. Rich's reviews not only explained why a component was good or lousy, he gave chapter and verse to support it. If for no other reason, TAC was priceless for explaining the necessity for double-blind testing. (Dave Clark and Tom Nousaine were occasional contributors, too.) When I started out in this hobby, I sure didn't get that kind of editorial integrity from Stereophile, The Absolute Sound, or Fi. What I got from them was a monthly dose of subjective nonsense and outright chicanery. For example, I wasted an afternoon reading "Sam Tellig" droning on about how the correct placement of quarters on top of speakers dramatically vanquished "veils" and doubled the soundstage.
(For admittedly sadistic pleasure, nothing beats Aczel's flaying of Clark Johnsen's "longest crank letter ever published" in Issue 18.)