LATEST ADDITIONS

It's common to read ads for new audio hardware that crow about "revolutionary" breakthroughs in sound performance, and that's how Velodyne crowed about their new Digital Drive DD-18, servo-controlled, powered 18" subwoofer. The ads suggested that the DD-18 can be digitally equalized to one's room with a resultant in-room frequency response of 20-200Hz, ±3dB.

Consumers prefer to get a good deal, and dealers like to maintain a healthy profit margin. Somewhere in the relationship is a perfect balance, where buyers get a legitimate product for the best price while dealers make enough money to ensure that the customer can be supported properly.

"No company has done more to vigorously fly the audio <I>tricolor</I> as has Focal-JMlab," declares Paul Bolin, who visits the Focal factory and then reviews the <A HREF="http://www.stereophile.com/loudspeakerreviews/604focal">Focal-JMlab Nova Utopia Be loudspeaker</A>. PB adds, "One thing about the Utopia line has not changed: the exquisite level of finish." But what about the sound?

Artists' audit rights: The California Assembly is scheduled to vote Tuesday, June 15 on a revised bill that would give recording artists the right to audit companies to ensure proper royalty payments. The bill would also give them the right to hire auditors on a contingency fee basis, and to initiate group audits, a provision that could make audits a class action issue. The proposed legislation is the result of talks between the Recording Industry Association of America (RIAA), the American Federation of Television and Radio Artists (AFTRA), and several state legislators, in particular State Senator Kevin Murray (D-Culver City), a longtime advocate for accounting reform in the recording industry.

Reader Wilbur Pan has discovered that most audio preamps have a paltry four pairs of inputs. He comments, "I don't think that I am asking too much out of a component that may cost over $2000 to provide me with an adequate number of inputs." Have you found that preamps have enough inputs for your needs?

Thirty-one flavors may work for an ice-cream chain, but a speaker manufacturer who sets out to please every sonic palate ends up with a serious identity crisis, pleasing no-one. From its inception in 1985, Audio Physic, based in Brilon, Germany, has been an event-oriented speaker company. Founder and original chief designer Joachim Gerhard focused much of his attention on providing listeners with the sensation of "live" by emphasizing coherent three-dimensional imaging and soundstaging&mdash;though not to the exclusion of timbral accuracy. Except for the Medea, based on a Manger driver (a fascinating design nonetheless), every Audio Physic speaker I've heard has fulfilled the company's mission statement.

I love dealing with the colorful characters of high-end audio. One such individual is Victor (<I>Veekh-tor</I>) Goldstein, who has distributed high-quality European audio gear from his New York City headquarters, Fanfare International, for 23 years. A nuclear engineer by training, Goldstein transitioned into audio when the Three Mile Island incident reduced the demand for his services. (I guess he felt his skills were transferable to single-ended triode amplifiers.) Most of all, Goldstein is a passionate lover of music with a vinyl collection that numbers well into five figures, and a fixture at many of the significant classical performances at New York's major concert halls.