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It's so funny that both Gordon Holt and Harry Pearson came to strongly disapprove of the magazines they founded and ran. Of the two, TAS is far worse imo, presenting company-written copy as editorial content.

He sure was, oregonpapa, inventing much of the Audiophile vocabulary still in use today. His first priority in the reproduction of music was accurate instrumental and vocal timbre, the lack of "vowel" coloration. Gordon's insistence that Hi-Fi evaluation and critique begin with that hurdle is considered "fascistic" by Art Dudley, a current reviewer I like a lot. Art considers accurate timbre to be just one of the equally-important jobs of Hi-Fi equipment, being in fact of less importance to Art than a component's abilities at reproducing the temporal aspects of a recording---the timing, "touch" (as he refers to the physical sound of a player's fingers on the strings of a guitar, for instance), and scale (the size of the instrument(s) and the recording venue).

My old Quads (with their metal screens removed) didn't pass the wife test. But that turned out to not matter---she didn't pass the Quad test!

Is Dick Olsher still reviewing in TAS? He was the only contributor I liked, after he left Stereophile. Dick is very much from the Gordon Holt school.

I found it so odd that no character in the Seinfeld sitcom was ever listening to music or reading a book. The only system I saw was Jerry's, and it was just as you would expect.

Right you are wolf. In The Last Waltz it was either Garth Hudson (who was the clavinet player) or Robbie Robertson who described the wah-wah'ed clavinet as sounding like a Jews Harp.