In addition, there are multiple ‘static elements’ that crop up in every book (introductory pages, an explanation of audio terminology, a section on audio measurements, a glossary, a list of recommended recordings – although this last is omitted from the Home Theatre volume, that gets its own, HT specific glossary instead).
The second governing factor on The Audiophile Guide’s content is the question of overall perspective. It is important to appreciate that this is both an introduction to audio systems and a path to extend their performance. It starts with first principles and takes it from there. That means it needs to work with starter systems and newbies just as effectively as it does with the seasoned and the cynical. Where it goes after that reflects both Paul McGowan’s own experience and PS Audio’s position in the market. The company could justifiably be defined as a purveyor of high-value, predominantly solid-state and high-tech (as opposed to ‘traditionalist’ or ‘retro’) products. That places its footprint firmly in the mainstream. In turn, that keeps in-depth discussion firmly on the straight and narrow of (US-centric) conventional wisdom.
Let’s look at what that means in practice. If we take the discussion of phono-stages as an example, you get a clear explanation as to why the phono-stage is necessary, how it differs from other analogue amplification (due to its de-emphasis function) and how vital it is, to good-quality vinyl replay. There’s some explanation as to the various different approaches adopted, including transconductance and transformers. There’s the inevitable (and understandable) plug for PS Audio’s own phono-stages – flagged up as such in the text. But there’s no real discussion of cartridge to phono-stage or step-up matching. So, although we know that a given cartridge will match some stages better than others, and know that there are differences between voltage-sensing inputs, transconductance inputs and transformers, we don’t know what the salient factors in selecting one of those over another might be. We know for instance, that transformers might use different core materials, but there’s no discussion as to what the different materials bring, beyond ‘performance advantages’. There’s no discussion of matching cartridges to transformers. Likewise, there’s no discussion of alternative EQ curves.
Again, this is not a criticism. It’s an illustration of the level at which The Guide is pitched. If you want in-depth discussion of niche subjects, you will need to look elsewhere. If you want to know when EMI switched over to RIAA (and the implications of overseas record pressing) – this isn’t the place to look. If you want to read about horn loudspeakers, SET amps, the role of sensitivity in audio reproduction, network noise issues or parallel grounding of individual components – best look elsewhere. But that’s not the point. The subject of EQ curves, who used what, in which country and when could easily fill a substantial volume – and still only scratch the surface. If you want specialist knowledge, consult a specialist source. The whole point of The Audiophiles Guide is that it’s a generalist perspective – just as Paul McGowan is himself a generalist. Therein lies its beauty and its efficacy…
