LATEST ADDITIONS

I dig tube amps. When all's said and done, good tube amps seem to sound more like real life than most solid-state gear; even after listening to and enjoying the hell out of musical solid-state designs like the Audio Research D-240 II and the Muse Model One Hundred, once I hook up the big VTL Deluxe 225s again it's just like going home. I could go on about timbral accuracy and clearer midrange textures, but the bottom line is, music just plain <I>sounds better</I> when you shoot it through good tubes, and once most people experience that magic, they're hooked.

Market tests have been conducted, rumors floated, and now official word has arrived that DualDisc, a new two-sided disc format combining a CD on one side with a DVD on the other, will launch this October.

One of the most fascinating aspects of the digital age is that clever students&mdash;or sometimes, clever dropouts&mdash;can undo the work of teams of PhD engineers.

In a landmark special feature, Chris Dunn & Malcolm Omar Hawksford thoroughly dissect the vicissitudes of the digital interface and jitter in <A HREF="http://www.stereophile.com/features/396bits">Bits is Bits?</A> The authors note, "The <I>theoretical</I> performance obtainable from the 16-bit linear PCM format sampled at 44.1kHz is superior to any analog sources available to the consumer."

We'll get to your least favorite next week, but this week, we want to know what your all-time favorite equipment review in <I>Stereophile</I> has been

Have you seen that advertisement running on the Arts & Entertainment channel? A girl and her brother are arguing in front of their TV: "Are not." "Are so." "Are not." Etc., etc. Finally, she punts: "Mom! He's calling me a <I>neo-fatalist</I> again!" From off-screen: "Do I have to come in there and demonstrate your free will?"

Someday we may speak wistfully to our grandchildren about the "golden age" of digital audio when consumer formats (CD and DAT) contained a bitstream that was an exact bit-for-bit duplicate of the original studio master recording&mdash;not a digitally compressed, filtered, copy-resistant version whose sound is "close enough" to the original. Digitally compressed formats such as DCC and MiniDisc represent, in effect, a return to the pre-CD era when consumer-release formats were always understood to be imperfect copies of the studio original. Even the most ardent audiophile accepted the fact that LPs and mass-produced tapes did not, and could not, sound as good as the master tapes they were derived from.