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A hit abroad but relatively unknown at home. That describes Cheap Trick who I wrote about here recently and also, believe it or not, Otis Redding. He was a big hit in the U.K. and even it seems in Paris before he hit at home with his final single, “(Sittin’ on the) “Dock of the Bay.”

The walls of the <i>Stereophile</i> offices have been shaking to the sounds of Mogwai's latest, <i><a href="http://blog.stereophile.com/stephenmejias/the_hawk_is_howling/">The Hawk is Howling</a></i>. Yes, we know that hawks don't howl. (Or do they?) We also know the difference between a hawk and a bald eagle. (Sourpusses.)

Some reviews take longer to gestate than others. But in the case of Cary's CD 306 SACD Professional Version SACD/CD player, it has taken me literally years to get this review into print. I had visited Cary's impressive facility in North Carolina just before Christmas 2005, when I'd been playing the high-resolution master files of some of my recordings at an event being promoted by Raleigh high-end dealer Audio Advice. Cary's head honcho, <A HREF="http://www.stereophile.com/interviews/399">Dennis Had</A>, had been playing me music on a system featuring his Silver Oak loudspeakers, with the front-end one of the first samples of the original CD 306, playing discs through the two-chassis Cary SLP 05 preamplifier that Art Dudley <A HREF="http://www.stereophile.com/tubepreamps/906cary">ended up reviewing</A> in the September 2006 issue. "Now <I>that's</I> a product I'd like to review!" I enthused, looking inside the CD 306, and I drove back to Brooklyn with a review sample.

We played Scrabble and listened to Brian Eno's Another Green World. The synthesizers were raw, saw-toothed, and gripping, and Eno's volume swells had never been truly appreciated till that night.

Even though he's heard me play the record about a million times, Kyle kept asking, "Who is this playing?"

I think it caught him by surprise this time around.

It was a certain sunless Sunday afternoon and we were listening to some records at the Brooklyn Navy Yard's <a href="http://blog.stereophile.com/stephenmejias/112206custom/">DeVore Fidelity factory</a>. Something had just come to an end, and I decided to take a look through a box of LPs to find something new. I found an album that was still sealed in its plastic wrapper. It was the seventh installment of Sonic Youth's SYR series, the album that <a href="http://blog.stereophile.com/stephenmejias/040808immediately/">started it all for me</a>. I was shocked. <i>Shocked</i>. I was all exclamation points and italics.

For Halloween, I dressed up as myself: rigid and morose. My costume was a smash at all the parties. However, the Best Costume Award goes to <a href="http://snowghostmusic.com/">SnowGhost Music</a>'s Greg McGrath. Greg dressed up as an MP3. He explained:

I can't think of a product that was as eagerly anticipated as was Ayre's KX-R preamplifier ($18,500). Following in the footsteps of Ayre's <A HREF="http://www.stereophile.com/solidpoweramps/407ayre">MX-R monoblock amplifier</A>, a <I>Stereophile</I> <A HREF="http://www.stereophile.com/features/1207poty/index9.html">2007 Product of the Year</A>, and milled, like the MX-R, from a 75-lb billet of aluminum, the KX-R also shares with its monoblock stablemate the Ayre ethos of zero feedback and fully balanced operation. But what really caused the buzz was the declaration by Ayre founder and chief designer <A HREF="http://www.stereophile.com/interviews/610">Charles Hansen</A> that the KX-R, with its use of a technology he calls Variable Gain Transconductance (VGT) to control the volume, would set new standards for signal/noise ratio.