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We're 30 years into a cartridge design revolution, particularly at the top end of the market, where manufacturers charge upward of $10,000 for their best efforts: prices that well-off consumers have amply proved they are willing to pay. There doesn't seem to be an innovation end in sight.

An outburst of saxophone flurries sits you straight up in your chair. The tone is rich but with a cutting edge.

It has to be Rudresh Mahanthappa. The riveting cry of his alto saxophone is one of the most recognizable sounds in jazz.

But those darting runs coalesce into Charlie Parker's "Red Cross." So it can't be Mahanthappa, can it? He has made 15 straight albums of original music. He doesn't do covers, right?

In February 1994, when I reviewed the pricey ($12,900 with amplifier) Sennheiser Orpheus headphone system—HE 90 headphones and HEV 90 D/A processor/amplifier—I commented that the company had a similar, but less expensive, alternative available: the HE 60 headphones combined with the HEV 70 amplifier. At the headphone end, the HE 60s aren't so different from the HE 90s furnished with the Orpheus system. Both are extremely lightweight and supremely comfortable—even for long listening sessions (I logged up to four hours without a break on the HE 60s). In fact, the less-expensive HE 60s are about 100gm—4 ounces—lighter than the HE 90s.

The challenge for Ayre's Charley Hansen was formidable. Having already designed a world-class preamplifier—the highly acclaimed $7100 K-1 (see Wes Phillips' review in March 1997)—Hansen set out to offer audiophiles "80 to 90%" of the K-1's sound and build quality at a price more of them can afford. Not that the new K-3 is a piece of "budget" gear. It's not. But at $4500, the fully loaded K-3, complete with phono section and remote control, is within reach of many.

The catastrophic February 6 fire at the factory where Apollo Masters produced LP-mastering lacquers—flat aluminum discs covered with nitrocellulose lacquer—will be old news by the time this column gets to you, but the repercussions of the loss will be ongoing for at least the next year and probably beyond.

Yamaha: The name evokes memories of my youth when those much-coveted receivers were out of financial reach, leading me to rely upon entry-level Kenwoods and Pioneers and others that sounded worse. Everyone who ever had a cheap receiver blow up—that's what caused me to move from Kenwood to Pioneer—or heard an old Akai that made LPs sound like 128kbps MP3s, please raise your hands.

My first exposure to Manger Audio loudspeakers, which are based on the "bending-wave" technology invented years ago by the company, was to the Manger p2, their passive flagship speaker, at the 2019 AXPONA. I heard it again a month or so later at High End Munich. I was impressed both times, especially by its transient and spatial performance.