Wiardgroup

> Although I don't agree with Robert on all of his points (especially rating
> "value" a 3.5 out of 5 - I would certainly rate it higher...

One of the problems with magazine reviews is that they don't properly state the
context of te review.  When compared to other modular synths, Wiard definitely
rates a 5.  However, to a beginning musician Wiard is probably worth a 1.  A
semi-pro after sounds out of the norm for ambient/industrial recordings (like
me!) would rate them a 5.  A professional engineer recording the latest boy
bands might rate it a 1.

I have a huge amount of respect for Robert Rich, and I'm sure that someone with
his intellgence and integrity stated the criteria for his review and rating.  I
think that most reviewers fail to do this, though.

With that being said, for the "average musician" that EM targets, I would agree
with the overall 3.5 rating.  This indicates to me a specialized product that
is beyond simply good, but you need to be aware of what it is before
purchasing. 

I'm very interested in this now, and will probably pick up a copy to read this
review.

> I've never come into personal contact with any of the Wiard stuff and only
> downloaded some MP3's and read the comments on this forum but I wouldn't
> have been surprised to see a 4 out of 5 rating.

I'm curious - why would you give it a 4?  As mentioned above, in what context
are you giving your rating?

> My biased and obviously warped opinion is that most reviewers never use
> musical equipment in anger and if they do, never at the highest level and
> are often looking for 'ear candy' or 'bells and whistles' over practical
> features. 
> Having said that (rather harshly) I do find that the US magazines are more
> in touch with the real world than the UK ones.

Although I feel that is a true statement when considering Future Music or the
more amateur publications, I would like to suggest you pick up a copy of Sound
On Sound:
www.sospubs.co.uk

I'm sure you'll find that the journalistic integrity (i.e. not influenced by
advertising monies), the depth of the reviews in realistic scenarios, and the
subjective opinions they offer on each piece of gear put their magazine a level
well above the US publications.  The interviews with successful musicians and
recording engineers are also a step above in terms of substance - they rarely
focus on the "so what gear do you use?" questions that are typically thrown at
interviewees by the US mags.

I'll e-mail their editor suggesting one or more articles about modern modular
synthesis, as the Wiard word should be spread further.

Graham

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