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<I>The following was submitted as a letter to <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A>, in response to his Editorial "<A HREF="http://www.stereophile.com/asweseeit/882awsi">Digital Revenge</A>," in issue #53 (August 1982, Vol.5 No.6). We are publishing it as a guest editorial, because the writer is one of the few audio people whose judgement we respect who disagrees with us about digital's merits. The feeling, it would seem, is mutual.</I>&mdash;<B>Ed.</B>

Many audiophiles will look back on the summer of 1982 as the year the creeping cruds invaded their hallowed halls of hi-fi. In the Conrad Hilton hotel, where most of the high-end contingent gathered at the June 1982 Consumer Electronics Show, one exhibitor was featuring a videodisc presentation with wide-range audio and insisting that this was the way of the future. And at least three others had managed to smuggle in digital tape recorders (all Sony PCM-F1s), and were giving many CES visitors their first taste of real, unadulterated, digital reproduction.

Question: What is it that almost every audiophile takes for granted, yet has more effect on the sound of his system than does any single component in that system? Answer: His listening room.

In recent months, <I>Stereophile</I>'s "Letters" column has been filled with complaints about the equipment we choose to review. "Too rich for my pocketbook" is the universal sentiment. This puzzles me, considering that <I>Stereophile</I> does review many "affordable" components. In part, I think this reaction is due to the high profile invariably associated with very expensive gear. Although we did put both speakers on our cover, one review of a Wilson Grand SLAMM or a JMlab Grand Utopia seems to outweigh 10 reviews of more realistically priced products. Our writers love to cover the cutting edge of audio&mdash;witness Martin Colloms's report from HI-FI '96 in this issue&mdash;because progress is more easily made when a designer is freed from budget constraints. But without the Grand SLAMM or Utopia, would Wilson have been able to produce the $9000/pair WITT, or JMlab the $900/pair <A HREF="http://www.stereophile.com/">Micron Carat</A>, to name two high-value, high-performance designs recently reviewed in the magazine?

<B>GRATEFUL DEAD: <I>Two from the Vault</I></B><BR>
Grateful Dead Records GDCD40162 (2 CDs only). Dan Healy, prod.; Jeffrey Norman, Don Pearson, engs. ADD. TT: 109:12<BR>
<B>GRATEFUL DEAD: <I>Infrared Roses</I></B><BR>
Grateful Dead Records GDCD40142 (CD only). Bob Bralove, prod.; Jeffrey Norman, John Cutler, Dan Healy, Bob Bralove, engs. ADD. TT: 58:30

There's still hope for skies full of blimps.

Before I even turn on the recorder, Willie Nile is telling me his theory of how the granite under Manhattan Island conducts electricity, which accounts for the perceptible charge that many people feel makes New York City so special. It's also what draws artists like flies, none more passionate than singer-songwriter Nile, who's personally contributed a few volts during his years in NYC.