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Now that audio technology seems to be on the verge of being able to do anything asked of it, it seems only fitting to wonder about what we should be asking it to do. We probably all agree that high fidelity should yield a felicitous reproduction of music, but felicitous to what? Should a system give an accurate replica of what is on the disc, or of the original musical sounds?

I had an experience at last summer's CES in Chicago that bordered on the religious. I heard the legendary $42,000 Wilson WAMM system.

There was a time, very recently in terms of human history, when high fidelity promised to free the music lover from the constraints of the concert hall and the local repertoire, allowing him to choose at his whim any orchestra in the world playing any work he desired under the baton of any conductor he preferred. "All the pleasure of concert-hall listening, in the comfort of your home," was the way one display advertisement painted this musical utopia which, only 20 years ago, seemed right around the corner.

Some risky business is going on at the Blue Note, the posh jazz club on West 3rd Street in Manhattan.

Ain't technology grand! That's what I was thinking while driving to work this morning. Sure, the rain was coming down in buckets, but there I was sitting comfortably in a warm car, listening to music while making tracks at 50mph. A long way from horse-and-buggy days.

When asked how to create a good recording, John Atkinson will tell you to use good musicians in a good room. The people behind <a href="http://www.benchmarkmedia.com/">Benchmark Media Systems</a>, makers of some of today’s most highly regarded digital audio converters, headphone amps, and mic preamps, agree.

My love for the Vivian Girls only grows and grows: I love them more today than I did yesterday, but not as much as I’ll love them tomorrow. Their 2009 album, <i>Everything Goes Wrong</i>, continues to sound fresh and exciting with each play on my turntable. And they’ve got a new 7-inch single available from their own <a href="http://www.freewebs.com/viviangirls/wildworld.htm">Wild World Records</a>. Perfect for a sunny Cinco de Mayo like this one, the A-side has Cassie confessing, “I can hardly wait until the summer comes,” while Katy and Ali echo the feeling with handclaps and angelic backing vocals. The B-side is a cover of the Chantels’ “He’s Gone,” which I had the great and unforgettable pleasure of hearing performed live, a cappella, <a href="http://forum.stereophile.com/photopost/showphoto.php/photo/2149/passwor… Bamboo Beach</a> <a href="http://blog.stereophile.com/stephenmejias/what_happened_in_puerto_rico/… Puerto Rico</a>.