⌈ THE EDITORS is a series of interviews with editors of audio magazines from all over the world – both printed ones, as well as online magazines and internet portals. It started on January 1st, 2012, and 36 interview records have been published so far – the one below is No. 37. Our aim is to make our readers more familiar with the people who usually hide behind the products that we review. It is the “WHO IS WHO?” of specialized audio press. ⌋

AUDIOGRADE IS A BRITISH online audio magazine. It was set up in 2021 in England, with a seat in London. Its Editor-in-chief and founder is ANDREW SIMPSON. We can read on the company website that:

Andrew has written for some of the UK’s biggest hifi titles and launched many on social media. With a career in digital and a passion for hifi, Audiograde was borne out of Andrew’s vision for a digital first website for the audio fans of today.
⸜ About, → AUDIOGRADE.uk, accessed: 29.07.2025.

Among the titles there are “Hi-Fi News” and “Hi-Fi Choice”, now belonging to AVTech Media Ltd.

⸜ Andrew Simpsons, the managing editor of Audiograde

Audiograde is an irregular publication, available only online. In addition to Simpson, the editorial team currently includes Lee Dunkley, Contributing Editor, Andy Waite, Contributor, and Angela Dunlea, Commercial Consultant. The magazine reviews audio products and CDs and offers articles on a wide range of hi-fi-related topics. It also lists new releases on its front page.

The magazine gives its own awards, both during the year and at the end of each period. The former are Audiograde Editor’s Pick, Audiograde Best Value, and Audiograde Recommended, which correspond to RED FINGERPRINT in High Fidelity, while the latter are called Audiograde Best of.... The former are orange, associated with the magazine’s logo, and the latter are blue.

ANDREW SIMPSONS is interviewed by WOJCIECH PACUŁA.

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WOJCIECH PACUŁA • Tell us about yourself and your career, etc. How did you start dealing with audio?

ANDREW SIMPSONS • My hifi passion started early. I was obsessed with music going into my teens (as most kids were back in 1990). All my mates were getting mini-systems, but I couldn’t afford one, so my dad cobbled together some of his older hifi gear into a system for me - a Rotel RA-611 from the late ‘70s, Akai top-loading tape deck and a Denon DCD900 CD player I’d bought at an audiojumble (all of which is still working!). In fact, the only separate I bought new was a pair of entry level Heybrook Prima loudspeakers.

⸜ Audiograde homepage

Upon hearing this system though I was hooked, as it blew my mate’s mini-systems away for sound quality. I was so obsessed I even used my woodwork GCSE to make a hi-fi stand! I’d grown up in the CD and tape era, but vinyl’s lure was too strong, hearing and seeing so many top flight decks, so when I could afford it I added a used Rega to my rack as my first turntable.

My career in the industry started some years later. Post university, I had a full-time job to pay the bills, but still read all the hi-fi mags and my degree was English based. Into my late twenties, I started reviewing for Hi-Fi News & Record Review and then its sister title Hi-Fi Choice. I also helped launch both on social media and contributed regular columns and features alongside product reviews.

WP How did you start your adventure with “Audiograde”? When, where and why was the magazine launched?

AS I’d taken a few years out of reviewing but still kept in touch with the industry and my passion for hi-fi never diminished. I’d also been asked to contribute to a number of other titles, but none fully suited the vision I had in mind for what a hi-fi site or online magazine should be. Then lockdown hit, which made me re-evaluate things and realise the only way to be part of a hi-fi site that met my vision was to build it myself.

That said, “Audiograde” wouldn’t be what it is today (or at launch) without the support and experience of trusted experts that have helped along the way. I’m especially grateful to Lee Dunkley (and all of our contributors) who brings with him years of running “Hi-Fi Choice”. That helped get our focus and positioning right.

⸜ Andrew at the launch of the SME Mode 60 turntable, alongside the Siltech Symphony loudspeaker

When we launched the site back in 2021, I was amazed by the amount of support we received from the industry and readers alike – within weeks, we were inundated with products to review, industry news and exclusives from brands which were also excited by what we wanted to do with “Audiograde”.

WP How does “Audiograde” work, i.e., what are your work criteria? How do you select products for review?

AS The thing we pride ourselves on the most is quality. There are lots of hobby type review websites out there, which churn out reviews like they’re on a bit of a conveyor belt. They’re all well and good, but with “Audiograde” we saw a gap of bringing a printed magazine level of quality to the online hi-fi space. Most magazines treat online as an add-on, while online review sites can be more about content volume. Where we fit in is retaining in-depth print standards within the online world.

We’re not doing this for the money, so we’re not here to focus on pushing out content at pace to drive clicks. Instead, we can take our time over product reviews in terms of those we select and those we focus on and really get under their skin. We’re also not about reviewing everything just because it’s ‘new’, as we’d rather prioritise the best in class across different areas of the industry. It’s why you don’t see lots of products that review poorly on “Audiograde”, as we’d much rather be listening to the kit that we enjoy and would (and often do) buy ourselves.

WP Do you have any tricks of your own for evaluating equipment?

AS Firstly, don’t always use well recorded music and don’t just go on first impressions. Revisiting music and equipment weeks, and sometimes months, after, to see if you still agree with what you were thinking when you made your initial assumptions, can be good practice. Secondly, don’t be afraid of getting second opinions, whether they agree or disagree with yours – the most important thing is to ask “why?”. I often invite other reviewers and hi-fi obsessed friends round for music nights to enjoy my system and also provoke discussion around a product or approach. It’s a great way to socialise what can be at times an isolated hobby. Above all, trust and look after your ears, they’re the best tools you’ve got!

⸜ Andrew with Conrad Mas, the CEO of Avid

WP What does your test procedure look like?

AS A lot of listening! Making sure you’ve got a clear head is vital, and that you’re not just using music that you personally really enjoy, as this can sway your opinion. I’ll tend to set some hours aside, make sure my system is fully warmed up and the other variables are limited (volume, seating position, external distractions) so that the product I’m evaluating has the chance to stand out in its own time and way.

My procedure also varies depending on what I’m testing. I wouldn’t, for example, test a pair of entry level bookshelf speakers in my 30 sqm listening suite and reference system. Instead, I’ll test these with similarly priced gear in a smaller space, as that is how most consumers will use them in the real world.

WP Can you describe your reference system?

AS My current reference system comprises a Rotel Michi X5 integrated amplifier feeding Dynaudio Evoke floorstanding loudspeakers. The source components are a Primare CD15 Prisma CD/network player and, on the analogue side, an SME 20/2 turntable with an AVID Nexus V2 tonearm feeding a Primare R35 phono stage. My current cartridge is a MoFi MasterTracker, but I also use pick-ups from Benz, Goldring and Denon, depending on what I’m reviewing. The cabling is Nordost Leif Red Dawn 3 throughout.

Outside of this, I also call on various other bits of kit, from a VPI turntable to amps by Musical Fidelity. I also use various retro and budget separates (the latter denoted through our Classic HiFi series), as I’m a big believer in hi-fi being accessible to everyone, no matter what your budget or the vintage of the gear you enjoy are.

WP How about printed versus online magazines: what are their strengths and weaknesses?

AS Both have their strengths and weaknesses. If I were to sum it up, print is about quality, but you need to wait weeks between issues, well as online is much more instant, but its inherent speed and frequency can sometimes cause standards to slip, as it’s all about getting things live quicker than your rivals.

⸜ Editor-in-chief of “Audiograde” with John Dawnson, co-founder of A&R Cambridge, now known by its trading name – Arcam.

Print is where I cut my chops, and “Audiograde” wouldn’t be what it is today without the standards print forces you to adhere to. We all make odd errors and typos, and with online you can fix these in seconds. But with print there’s no editing an already published magazine. I’ll always be grateful for the high standards Paul Miller expected of me and his team at “News and Choice”, many of which we apply to “Audiograde”.

There’s also something very tactile about buying a magazine that online just cannot replicate (a bit like buying an LP vs streaming). There’s space for both, of course, and the industry wouldn’t be what it is without the print titles that have set the standard for decades.

WP What are your favourite audio products – do you have any preferences regarding vinyl/digital, tube/transistor, etc.?

AS Since I built my dedicated listening room, I’ve become a sucker for big, high quality speakers. Years ago, models like MoFi’s 888 just wouldn’t have worked in my flat or house, but now I’m fortunate enough to be able to properly test and enjoy speakers like these.

I’m equally split across analogue and digital sources. Digital is so convenient, and it is where the envelope is being pushed the most, but I’ll happily spend a lot of time immersed in my vinyl collection. Getting a turntable sounding right is probably the most frustrating and rewarding challenge in any hi-fi system – in equal measures!

⸜ Another of Andrew’s interlocutors, Peter Comeau, designer of loudspeakers for brands such as Wharfedale, Castle and Mission

WP What do you think about the present status of audio, high-end, etc.?

AS The biggest challenge the industry is facing is trying to persuade non hi fi folk to invest. It’s still seen as niche when it shouldn’t be. I’ve lost count of the conversations I’ve had with non-hi-fi buyers, which goes like this:

– “I’m not really into hi-fi.”
– “Do you like music?”
– “Yeah! I listen to it every day.”
– “Do you prefer it to sound good?”
– “Yeah, of course.”
– “Then buy some decent hi-fi!”

This often applies to people who won’t think twice about buying new cars, watches, cameras and other devices. I think, overall, the industry needs to celebrate itself more and stop trying to repeatedly sell to its core customer base. I think the high-end is in a good place in general, as there will always be a market for it and, overall, high-end is driven by folks who really want to offer the ultimate audio experience. It’s what many of us thrive on.

WP What advice would you give to people from outside the industry, who would like to enter the audio world – what should they start with, what should they pay attention to?

AS Like any consumer hobby, this industry blends two things to keep audiences interested – product/technical knowledge combined with your own informed opinion. And you also need to present this in a way audiences find interesting and entertaining. So, immerse yourself in the products, culture and conversations but also don’t be afraid of asking questions and forming your own opinions, as this will be what sets you apart.

WP What do you think about audio shows, such as the new Vienna High End? Do we need them, or not?

AS I hear a lot of negative opinions about audio shows, which I just don’t get or subscribe to. Anyone who makes the effort to put on a show or an exhibition should be applauded. Personally, I enjoy them all, large or small, domestic or international, as you’re always going to hear something you didn’t expect and, on the whole, it is welcoming and friendly everywhere. It’s a great community to be a part of.

WP Have you found any new and interesting technology recently?

AS At present it seems like we’re improving on tech that already exists, rather than exploring new boundaries, thanks to computer modelling, etc., and better understanding of things like loudspeaker behaviour.

⸜ Andrew Simsons’s reference system: a test of the MoFi Electronics SourcePoint 888 loudspeakers

A brand that has really stood out for me over the last decade is probably Devialet. Everything – from its business model and branding, to its amplifier and loudspeaker technology – seemed so far ahead of the competition. Even now, ten years or so later, they’re still so different from the rest.

Digital’s biggest Achilles' heel, in my opinion, has been a lack of uniformity; things like ‘hi-res’ streaming, which is in fact just CD quality, incompatible or poorly developed apps that dilute the in-the-moment listening experience while you’re faffing around with your phone. Things have gotten better in recent years, with better integration, but it still can be off-putting for those new to the industry that just want the simplicity of an Amazon Echo.

I’d also welcome back a return to suspended turntables, which have fallen out of favour, compared to the ease of use of a rigid design.

WP How does audio in the UK differ from the rest of the world?

AS We try to be global (rather than just UK) facing, as we recognise there’s superb hi-fi being made in all corners of the world, and which is why advertisers on our site range from Canada (Nordost) to Sweden (Primare) and sit alongside homegrown brands including AVID, Chord Electronics and Russ Andrews’ Accessories.

⸜ Andrew Simsons’s reference system again – this time, a test of the Dali Kore loudspeakers

Our soon to be launched Hifi Map will also include brands, events and distributors worldwide, as hi-fi (and music) is a global interest. That said, ‘made in Britain’ does carry considerate kudos, quite rightly so. Brands like AVID, SME, Sugden, Spendor, Linn, Michell and many, many more represent the best of British engineering and show why we’ve just as much of a foot in what makes hi-fi great as any country. We’ve got proud audio heritage that should be celebrated.

WP Tell us please about ten albums that you would recommend to our readers and tell us why.

AS Only ten…? OK, here we go.

˻ 1 ˺ REM New Adventures In Hi-Fi

Right from the opening track this is a great workout for any system due to great production, range of music and atmospherics, just don’t play it too quiet.

⸜ New Adventures in Hi-Fi was the tenth studio album of the American band R.E.M., released in 1996 • photo: Warner Bros press materials.

˻ 2 ˺ ONDARA Spanish Villager No. 3
The rhythms, lyrics and vocals on this album are just fantastic. Make sure you play the 24-bit/96kHz Qobuz version for best results.

˻ 3 ˺ GAZ COOMBES Turn The Car Around
Although more famous for his Supergrass origins, Gaz’s solo albums are standout, and his most recent is my favourite of the three. As a lead singer who’s really grown into his songwriting, it’s both mature and fun all at once. Stick with the streamed version though, as the channels are reversed on the vinyl pressing!

˻ 4 ˺ BILL FAY Bill Fay
Bill Fay (self-titled, 1970) is the first of two English singer-songwriters from this period that make this list. This album is about as traditionally ‘English’ sounding as they get. The songwriting and structure are exceptional, and the vinyl re-pressings does it justice.

˻ 5 ˺ NICK DRAKE Five Leaves Left
I could easily fill this list with Nick’s albums and those of Fairport Convention label mates, but this makes the list because of how much hi-fi I’ve used it for as a test bed to audition, review and buy. If this album doesn’t captivate you, then something’s wrong with your system.

⸜ The recently released box The Making of Five Leaves Left brings us four CDs (or four LPs) and a thick booklet • photo: Universal Music Recordings press materials

˻ 6 ˺ LISA HANNIGAN At Swim
Astounding vocals, superb instrumentation and some lovely atmospherics. A real tweeter-tester!

˻ 7 ˺ STEPHEN FRETWELL Man On The Roof
If you can find this on vinyl from its first production, run to buy it – as the recording is one of the best I’ve heard (in ‘wide-stereo sound’). It’s also a great album, full of wit and melodies that get under your skin, with not a duff track on it.

˻ 8 ˺ ÁSGEIR TRAUSTI Dýrð í dauðaþögn
I’ll be forever grateful to my good friend Alan for this LP. Its lush laid back vibe and rich-layered production sound just gorgeous. I understand there’s a version in English, but the Icelandic version is the one to go for.

⸜ ÁSGEIR TRAUSTI’S Dýrð í dauðaþögn album has embossed graphics on page four • photo: One Little Indian press materials

˻ 9 ˺ NIRVANA Incesticide
Probably the least lauded Nirvana album, as it’s basically a batch of early demo tracks and outtakes to keep the public happy while the band’s third album was being made. But for me it captures the band at their most honest, and there’s raw surf-rock authenticity to it that gets me every time, right from album opener, Dive.

˻ 10 ˺ PJ HARVEY White Chalk
It’s hard to pick just one PJ LP, but White Chalk stands out for me for its consistent production and piano. Listen to this and tell me you’re not transported to the wilds of Dorset in another age.

WP Thank you very much for sharing your story with “High Fidelity” readers!

AS I also thank you for this opportunity :) ●