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RE: Print-zines, E-zines, size, policies, etc.

Hi,

Actually, this isn't all true and in some instances not relevant to the audio industry. I'll explain . . .

First, if there were a top writer looking for an outlet for his or her work, we'd certainly look at them with commensurate pay. The thing is, in the audio industry, it's not like it is in the news industry where you have professional journalists. Instead, the bulk of the reviewers, both in print and online, do it as a hobby. The guys who do it full-time tend to be the guys who run the magazines. Paul Miller, for example, who I feel has the best print magazine on the planet: Hi-Fi News. So there really aren't those people to hire.

As for the rest of the arguments, it tends to be what standards you set versus whether you're print or online. Take speaker measurements for example. I couldn't imagine being a professionally run magazine and measuring speakers in my backyard or in a living room. If you're going to do it, do it right, and that's why we use the NRC's anechoic chamber, which is the proper place to conduct such tests. We've done this for 12 year and it costs us a pretty penny to do so -- yet no other magazine goes to those lengths.

Insofar as show and event coverage goes, I suspect that today our budget is as high if not higher than any other publication in the world. The investment we put into these shows is enormous -- whether you're talking print or online -- but again we feel it's worth it. Also, the efforts we try to bring to things such as photography, other measurements of electronics, etc.

What I will agree is that it's easy to start a webzine for next to nothing. Someone could have "something" tomorrow. But, again, it really comes down to what standards one sets for everything else. If you simply hold a higher standard, the costs mount. Running on the Web certainly isn't free.

Doug Schneider
SoundStage! Network


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