LATEST ADDITIONS

How much fun can you have with an audio component? Fun for me is having a Nakamichi BX-300 analog cassette deck running into Musical Fidelity's evolutionary, revolutionary CD-Pre<SUP>24</SUP> preamplifier, with the unit's <I>digital</I> output feeding the <A HREF="http://www.stereophile.com//digitalsourcereviews/605/">Alesis Masterlink</A> hard-drive-based digital recorder, and being able to monitor the <I>digital</I> loop through the preamp once again in the analog domain.

Over the course of several months, during which time I auditioned the Vacuum Tube Logic TL-5.5 tubed line-stage preamp with a variety of power amps and loudspeakers, I began to reassess many long-held notions about the "characters" of solid-state and tube components. Sometimes the TL-5.5 revealed its musical pedigree with all the midrange juiciness and sublime textural detail that one traditionally associates with a triode front-end, while at others it evinced a level of focus, transparency, and frequency extension I more readily associate with solid-state purity&mdash;all in a stylish package featuring a remote volume control and a full range of performance enhancements that belied its affordable price.

Unpacking and installing a new component is always cause for excitement, even if one does it with almost mechanical regularity, and the anticipation is greater when the component is from a manufacturer of almost mythic reputation. So when John Atkinson asked if I'd like to audition Nagra's new PL-L preamplifier, I feigned calm as I accepted the assignment, even while remembering those years in college radio when I had to schlepp big Ampexes and Maggies. The sexy, portable Nagras were the stuff of dreams. Finally, I thought, I'd get my hands and ears on one.

Imitation, as the old saw would have it, is the sincerest form of flattery. It might also offer a way for DVD-Audio to establish credibility and build a customer base.

We kick off our anniversary collection with <A HREF="http://www.stereophile.com//features/708/">40 Years of <I>Stereophile</I>: What Happened When</A>. Editor John Atkinson recounts the complete history of <I>Stereophile</I>, starting in 1930 when J. Gordon Holt heard his first sound in North Carolina.

At present, the recording industry is based on a variety of analog and PCM digital audio formats, putting proponents of Super Audio Compact Disc (SACD, which is based on the Direct Stream Digital, or DSD, format) in a tough place when it comes to creating pure DSD works for showing off the format. To date, labels have had a limited number of options for creating, mixing, and mastering pure DSD projects.

US lawmakers have honored their promise to address a languishing small-webcaster royalty bill that was <A HREF="http://www.stereophile.com/news/11468/">put on hold</A> prior to the fall elections.