We discovered that the husband of famous British pianist Joyce Hatto had faked and electronically modified recordings of music and ascribed it to her. Hatto had become this big cause celebre at the end of her life.
I had experts worldwide working on it, and we had blanket coverage for about nine months, and won the Press Gazette award for exclusive of the year. We got 11 pages in The New Yorker and were on the news in China. It went everywhere.
What makes a great Gramophone cover story - other than huge hoaxes?
I suppose it is a combination of a great journalistic story and a tie-in of something the reader wants beyond the story - a CD, for instance, or a new recording or news of an important singer.
What are your PR pet peeves?
You would think the title of the magazine gives the game away, but we still get PROs coming to us with rock music stories. A boring fact or notification of a concert is not interesting.
I used to cover music, film and theatre at Time magazine, and hated PROs who tried to control stories from beginning to end. They have to understand you are not there to push a corporate line or sell their products.
Are you a believer in armchair journalism?
Some of the much-touted democracy of the web is a smokescreen. The big news organisations still set the agenda. I think it is important to stay in touch with these things, though - I am on Facebook and LinkedIn but I tend to neglect them. After the initial excitement I got bored.
Circulation: 36,817 (Feb 2008 ABCs)