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Does the Audio Industry Have a Quality Problem?

Evaluating the audio equipment I’ve owned over the years there were issues (either technical or product quality) with virtually every piece. The issues affected both electronics and speakers; ranged from entry level kit to the expensive (for me) stuff I currently own; and was irrespective of country of manufacture. In most cases the retailer / manufacturer resolved the problems on the first attempt and thereafter I had no further issues. So a thumbs up for responsiveness and good customer service. Once working properly, all the products performed extremely well sound quality-wise as well as being user-friendly - another thumbs up for well thought out design. However, it would be better if the products were built to a higher standard and quality control was such that the need for after sales service was rare. My experience is that the problem has become worse over time. I was out of the hobby for the whole of the noughties. When I got back into it in 2012, the first product I purchased to bring my system up to date was a DAC - A new Rega DAC (the original not the DAC-R). It didn’t work - no analogue output signal. Replacement was despatched immediately. Three years later the internal power supply failed. Returned to Rega for FOC repair / shipping.

Here are some other examples

* Mission LX-5 floorstanding speakers (new - made in China): Horrible, unsightly 18 inch-long defect in the white Sandex finish of one speaker, Replaced.

* Naim Supernait 2 integrated amplifier (new - made in England): After approx 18 months, no output from one channel when AV bypass switched-in (activated). When unit came back from Naim service, the volume knob fell off! Amp has been incorrectly packed such that the not inconsiderable weight of the amp was forcing the knob inward which in turn compressed the split spindle on which it was mounted. The spindle no longer had sufficient springiness to grip the splines on the inside of the knob. Given the state of the packaging, the shipment appeared to have had quite a rough ride. I decided against returning it to Naim for a second time and modded it myself. A really great amp in so many ways. But disappointing that Naim used the universal type of knob you used to get on cheap electrical appliances and radios (the volume unit itself is a remote-controlled Blue Alps and is excellent). Also poorly designed packaging and staff that didn’t take the time to pack it correctly.

Linn Selekt DSM streaming DAC / pre-amp (new - made in Scotland): Unsightly clump of something in the black, silver flecked powder finish on the top of the unit. Returned. Replacement unit arrived with the same issue. Returned. Retailer got the production manager involved and the third unit was perfect. Disappointing in a product of this price.

Focal Kanta No. 2 floor standing speakers (ex-display - made in France): On one speaker the glass top is not flush with the outsize front baffle. There is a gap of 2mm-3mm. It’s the equivalent of the getting the ’shutlines’ wrong on a car - a casualty of mass production that’s not uncommon. As it’s only noticeable on close inspection and not visible from the front I’ve taken no action. Big, heavy speakers are a hassle moving and I’m not confident replacements wouldn’t have a different - maybe worse - defect.

Technics SL-1210GAE 55th Anniversary Limited Edition turntable (new - made in Japan): Really great sounding table! But there is a colour mismatch/blemish in the matte black finish of the plinth which is a composite of die-cast aluminium, bulk moulding compound, and heavyweight rubber. However, as it’s on the side and not visible from the front I’ve again taken no action. Also, upon on unpacking, I found that one of the aluminium isolation feet that were lightly screwed into the bottom of the plinth was loose in the box and as a result had become scratched. So much for the Japanese’s obsessive attention to detail.

Thoughts / experiences?




tandh12

Showing 4 responses by tandh12

tandh12 OP
12 posts
 
Hahahaha!

Nice plug for 'Made in the U.S.A' and Quicksilver and VPI, in particular. I do like the look of some of the U.S. brands but won't be rushing out to buy any American-made kit I can find 'till we hear more from other forum members. The other issue we have on this side of the pond is the pricing. Obviously, import duty, taxes (VAT), shipping and other costs add up but even then, some of the pricing seems excessive when you convert the USD retail price. Take the mighty McIntosh MC462 power amp. Retails for $9,000. Price in the U.K. is £12,495 which is the equivalent of $17,618. That's a very large price discrepancy. Or the D'Agostino Progression integrated amp which is $23,000. In the UK it's £25,998 (or $36,657); and  I could go on.
tandh12 OP
12 posts
 
Maybe I'm just unlucky!

However, with the near 100% free-from-defects and reliability levels being reported here surely the audio repair shops would be out of business. What about warranties? If products are as bullet proof as forum members report, why are warranties usu only 1-3 years (Bryston / PMC / Rega excepted)? Maybe one or two repair shops could weigh in here and give us their perspective?
tandh12 OP
12 posts
 
Thanks all for your many responses

If I can summarise the results of our little straw poll; the 3 main takeaways thus far are:

1. Buy American

2. Hang onto your 1980-vintage gear for dear life and IGNORE those heretics who will not stop claiming that the 20th Century is over and the world is not flat

3. Don’t expect too much regardless of the price asked
tandh12 OP
12 posts
 

@tomcy6’s points about the compromises that are inherent in cost-efficient manufacturing are very salient. I have some experience of mass manufacturing quality control and know that it is (or at least it used to be many years ago) done through random sampling of the product at set intervals at various points throughout the production process and of the finished products. Not every item is inspected / tested to ensure it is within tolerance and defect free. The sampling rate is set to deliver the percentage of defect-free units the manufacturer or customer can tolerate (which in turn is dictated by the market - us!). Taking tomcy6’s 95% example, this would mean 5% maximum of the production can ship with a fault of some kind. That 5% limit might be relaxed for ‘minor’ defects and tightened for major ones. Obviously, for airplanes, spacecraft and the like, the only sample rate acceptable is 100%, 100% of the time. But for audio products it might be 1 in 20 for a contract mass manufacturer (say in Taiwan), increasing to 1 in 3 or 4 for a medium-sized producer in Europe or North America, right down to checking every single product at every stage for small-scale producers of really high-end gear.

I get it that audio equipment makers need to make a profit and are under the same competitive constraints as all manufacturers - especially in the budget to mid-level end of the market. But having to return / fix gear all the time is a hassle. I believe they can and should do better. And I’m not at all convinced that going further up market improves matters - just look at gregp858’s post about his new $25,000 KEF Blade Two speakers?


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