LATEST ADDITIONS

<I>Nothing quite new is perfect.</I> &mdash;Marcus Tullius Cicero, <I>Brutus</I>

<B>WAGNER: <I>Siegfried</I></B><BR> Teldec 4509-94193-2 (4 CDs only). TT: 4:00:09<BR> <B>WAGNER: <I>G&#246;tterd&#228;mmerung</I></B><BR> Teldec 4509-94194-2 (4 CDs only). TT: 4:27:03<BR> Siegfried Jerusalem, Siegfried; Anne Evans, Br&#252;nnhilde; John Tomlinson, Wanderer; G&#252;nter von Kannen, Alberich; Graham Clark, Mime; Philip Kang, Fafner, Hagen; Bodo Brinkmann, Gunther; Waltraud Meier, Waltraute; Birgitta Svend&#233;n, Erda, First Norn; Eva-Maria Bundschuh, Gutrune; Hilde Leidland, Forest Bird, Woglinde; others; 1991 Bayreuth Festival Orchestra & Chorus, Daniel Barenboim<BR> <I>Both:</I> John Mordler, prod.; Gernot R. Westh&#228;user, eng. DDD.

For a while, I've been hearing rumors that the record-club editions of popular compact discs differ from the original versions produced by the record companies. I've met listeners who claim their club versions are compressed in dynamics, and some have reduced bass. Perhaps the clubs, in their infinite wisdom, think the typical member has a lower-class stereo system (in fact, the opposite may be true). Maybe these lower classes could benefit from some judicious dynamic compression, equalization, and digital remastering.

"What's that noise?" Bob Harley and I looked at each other in puzzlement. We thought we'd debugged the heck out of the recording setup, but there, audible in the headphones above the sound of Robert Silverman softly stroking the piano keys in the second Scherzo of Schumann's "Concerto Without Orchestra" sonata, was an intermittent crackling sound. It was almost as if the God of Vinyl was making sure there would be sufficient surface noise on our live recording to endow it with the Official Seal of Audiophile Approval. Bob tiptoed out of the vestry where we'd set up our temporary control room and peeked through a window into the church, where a rapt audience was sitting as appropriately quiet as church mice.

If you read much promotional literature for recently introduced high-quality equipment, you'll notice a common theme emerging: balanced connection. Balanced inputs and outputs are becoming a must for any audio equipment that has any claim to quality. The word itself has promotional value, suggesting moral superiority over the long-established "unbalanced" connection (for the purpose of this discussion, I will call this "normal"). What's my problem with this? Simply this: The High End could be paying dangerous, costly lip service to the received wisdom that balanced operation is the goal for an audio system.

<I>More than 20 years ago, when the turntable was considered a perfectly neutral component in the playback chain, Ivor Tiefenbrun single-handedly demonstrated to the world that the turntable was not only an important part of a hi-fi system, but perhaps the </I>most<I> important part. That radical idea was the basis for the legendary Linn Sondek LP12 turntable, the product that launched Linn, and which is still in production 22 years later.</I>

The future is rarely what anyone expects it to be. I still remember reading, as a child, predictions in <I>Popular Science</I> that everyone would have a personal helicopter by 1980. It never happened, though it sure seemed like a reasonable projection of events. Events, however, have their own agenda.