I've read on this List and widely elsewhere and never read a satisfactory
explanation of how the critics were so badly duped.  Someone did mention
slight alterations to sound quality but can this account for missing the
huges variants in sound and style accross a wide spectrum of painists,
orchestras, engineering .... ?  It baffles me.

I appreciate the generousity of those who see critics as victims too.
To a certain extent I agree as they are good people who were duped.
However review magazines often hold themsleves out a experts and people
bought Hatto CDs based on their expert reviews.  If you bought a fake
painting from Christies after an expert said it was genuine in similar
circumstances (wide vagrancies in style etc) I wonder if we would come
to similar conclusions?

David Harbin
Nottingham UK

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