LATEST ADDITIONS

Rogue Audio's Magnum Ninety-Nine tubed preamplifier is derived from the original Rogue Sixty-Six that I <A HREF="http://www.stereophile.com//amplificationreviews/289/">reviewed in October 2000</A>. The Sixty-Six was designed to offer consumers a taste of high-end performance in a vacuum-tube line stage. By constrast, the Magnum Ninety-Nine's pedigree is pure audiophile, with a more sophisticated mu-follower circuit topology aimed at the purest expression of performance.

Modern hi-fi is little more than a way of getting electricity to pretend that it's music. Of course, good source components remain all-important, and even if loudspeakers <I>are</I> imperfect, most of us can find one or two that suit our tastes, if not our rooms and the rest of our gear.

Rumors persist that, in addition to SACD/CD hybrids, DVD-Audio/CD hybrid discs are on their way. How important is this to you?

One of the more intriguing discussions we had at last week's Consumer Electronics Show (CES) was with Jim Weil of Berkeley, CA&ndash;based <A HREF="http://www.soundapplication.com">Sound Application</A>.

People are often unaware that they might benefit from industry- or union-sponsored funds or participate in class-action settlements. In early January, we were notified of a fund for session musicians with over $3 million still unclaimed, and of a procedure enabling consumers to collect a small share of the payout from the "MAP" (minimum advertised price) <A HREF="http://www.stereophile.com/news/11461/">lawsuit</A&gt; that was settled by the music industry last year.

The digital music market balances on at least five legs: software producers, technology developers, electronics manufacturers, consumers, and regulating bodies. So, can a two-legged agreement stand? That's the question industry watchers are asking as representatives of two groups, the Recording Industry Association of America (RIAA) and the technology sector, announced that they have reached agreement on a "core set of principles" to guide their public policy activities regarding the distribution of digital content.

Not for nothing did I name the Kharma-Lamm room at Home Entertainment 2002 the "Best Sound in Show." Show attendees slotted it 17th best [<I>see September 2002, p.59&mdash;Ed.</I>], behind other rooms to which I also gave high marks&mdash;mostly larger rooms featuring far bigger loudspeakers&mdash;but to me, the sound emanating from the Kharma Ceramique 3.2 ($19,000/pair), driven by Lamm electronics, possessed a sublime balance of sonic qualities heard in few other rooms.