LATEST ADDITIONS

Now that SACD and DVD-Audio players are available, it's time to hear your predictions for the new formats.

Federal courts long ago established that music fans have certain "fair use" rights when it comes to making copies of recordings they own. They can transfer recordings from one format to another—such as from LP to cassette tape or from CD to MiniDisc—and they can share those recordings with others, provided that the results are only for private, noncommercial use.

E<I>ditor's Note: <A HREF="http://www.richardhess.com">Richard Hess</A> has recently spent time remastering several CDs and wrote about the experience for an engineering newsgroup. We think </I>Stereophile<I>'s online readers will find his comments about the process interesting.</I>

Information released last week by <A HREF="http://www.intelectmt.com">NPD Intelect</A> reveals eye-opening statistics about digital audio recorder formats. The numbers show that, from January to May 2000, unit shares of digital recording sales in retail stores were 30.8% for CD recorders (not including computer-based systems), 40.9% for MiniDisc recorders, and 28.3% for MP3 recording devices (also not including computer-based systems).

When I learned that Madrigal Audio Labs was marketing their first integrated amplifier, the Mark Levinson No.383, I felt this was a big change for the Connecticut company. Mark Levinson literally started the high-end marketing revolution back in the early 1970s by manufacturing cost-no-object separate amplifiers and preamplifiers. The purist designs had one overriding rule: employ the simplest circuit path possible. Each amplifier or preamplifier used only individual circuit-board components (no integrated circuits) and had a minimal number of controls, eschewing elaborate switches and tone controls. Mark Levinson Audio Systems and its successor, Madrigal Audio Laboratories, has continued this philosophy of separate components for the past 25 years.

<B>SONNY ROLLINS: <I>The Freelance Years</I></B><BR> Sonny Rollins, tenor sax; Clark Terry, Kenny Dorham, trumpet; Jimmy Cleveland, trombone; Ernie Henry, alto sax; Thelonious Monk, Hank Jones, Sonny Clark, Wynton Kelly, Gil Coggins, Hampton Hawes, piano; Victor Feldman, vibes; Barney Kessel, Oscar Pettiford, Ray Brown, Paul Chambers, Wendell Marshall, Leroy Vinegar, bass; Max Roach, Shelly Manne, Roy Haynes, Kenny Dennis, drums; Abbey Lincoln, vocals<BR>Riverside 5RCD-4427-2 (5 CDs). 2000. Orrin Keepnews, Lester Koenig, Leonard Feather, original prods.; Eric Miller, compilation prod.; Dave Luke, tape transfers; Kirk Felton, remastering. AAD. TT: 5:58:42<BR> Performance <B>*****</B><BR> Sonics <B>*****</B>