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"I'm a recording engineer, so I value accuracy," said a panelist in a discussion—titled "How to Read Between the Lines of Audio Advertising"—at last October's Rocky Mountain Audio Fest. I, too, was on the panel, which was moderated by Brent Butterworth, a writer for the SoundStage! Network of online audio magazines.

"Accuracy is overrated," I interjected from the other end of the dais. "Accurate to what? To your sonic tastes? To what you hear on your preferred loudspeakers? Other than one's personal preferences, I'm not sure the term accuracy has much meaning."

My first attempt at writing this piece began with a list of the Top Ten Audio Products I Wish Were Still in Production. Unfortunately, that proved unworkable. Although some of my selections—the Audio Research SP-6C preamplifier, the Stax ELS-F81 loudspeaker—were straightforward, it turned out that most of the others were burdened with complications. Examples: It's no longer feasible to mass-produce Bakelite headshells for a revival of the original Ortofon SPU or similar phono pickup. It's no longer possible to obtain the precisely correct vacuum tubes and other components required to return to production the Leak Stereo 20 amplifier. And I'm certain that a torch- and pitchfork-wielding mob would prevent the manufacture of an authentic Altec 604B drive-unit, unless those audio villagers were first allowed to "improve" the design.

On January 23, 2017, telecoms company Sprint acquired 33% of the Tidal music streaming service. According to the press release jointly issued by the two companies, the deal guarantees that Tidal, which now claims a catalog of over 42.5 million songs and 140,000 "high quality videos," will become available to Sprint's 45,000,000 retail customers, who will gain "unlimited access to exclusive artist content not available anywhere else."

Register to win a pair of AudioQuest NightOwl Carbon Headphones ($699.00 Retail Value) we are giving away.

According to the company:

"A direct descendant of AudioQuest's award-winning NightHawk headphone, the closed-back NightOwl Carbon replaces its predecessor's biomimetic sound-diffusing grille with an intelligently designed aperiodic damping system for excellent isolation of external noise, ensuring privacy for the listener and those nearby."

[This Sweepstakes is now closed.]

"Dammit!" No sooner had I praised small loudspeakers while dismissing large speakers as potentially having "large problems," in my review of the Crystal Arabesque Minissimo Diamond in the October issue, than I had to eat my words. Only days after that issue had gone to press, Magico's VP for Global Sales & Marketing, Peter Mackay, and CTO Yair Tammam, arrived at my place to set up a pair of the Bay Area company's floorstanding—and very large—S5 Mk.II loudspeakers.

"What are your thoughts on this year's CES?": A multi-dimensional question that means many different things to the many different people who share the high-end audio realm. For my first attendance at the annual Consumer Electronics Show, I had a mission: to compile answers to this complex question and fit my findings on a visual medium, a time capsule of sorts. Is this the last year of CES? Was the low attendance in the high-end audio segment at the Venetian just a temporary lull? Or could it be a turning point for the high-end audio industry? Whatever might happen, 2017 struck me as a pivotal year for CES, and a show that begged to be captured.

The Band: The Last Waltz 40th
Rhino RR 273925 (2 CDs). 1978/2016. Robbie Robertson, prod.; Ron Fraboni, John Simon, co-prods.; Terry Becker, Tim Kramer, Elliot Mazer, Wayne Neuendorf, Ed Anderson, Neil Brody, engs. ADD? TT: 2:09:11
Performance *****
Sonics ****

To clear the air, if not the sinuses, let's dispose right now of the traveling-booger-matte controversy. If Robbie Robertson and the late Levon Helm are to be believed, in The Last Waltz, Neil Young performed "Helpless" with a very suspicious chunk of something hanging out of one nostril. When Young and his management became aware of the problem, the offending object had to be excised from the film stock using a matte laboriously inserted into every frame. At least, that's how the juiciest legend from one of rock's most legendary performances is usually told.