LATEST ADDITIONS

When <A HREF="http://www.sony.com">Sony</A&gt; introduced the first Super Audio CD (SACD) player, the SCD-1 (see <A HREF="http://www.stereophile.com/news/10445/">previous report</A> and Jonathan Scull's forthcoming review in the November 1999 <I>Stereophile</I>), audiophiles who heard it were impressed with its performance, but wondered if its $5000 price tag would keep it out of the market for a while. Last week, Sony announced their second SACD player, the SCD-777ES, to appear in October at the slightly more wallet-friendly price of $3500.

The year was 1956, and Elvis had just finshed his set on the December 15 <I>Louisiana Hayride</I> radio show. Elvis was one of a half-dozen acts that were broadcast that night on KWKH, the radio station that originated <I>Hayride</I>. After his encore, Elvis left the stage and the crowd went wild&mdash;so wild that they would not stop screaming for more of the soon-to-be king of rock'n'roll. Because several acts on the bill had not yet performed, the show's announcer, Horace Logan, went to the microphone in an attempt to quiet the audience, and ended up making a little music history.

<B>GEORGE JONES: <I>Cold Hard Truth</I></B><BR> Asylum 62368-2 (CD). 1999. Keith Stegall, prod.; John Kelton, eng.; Mark Nevers, Brady Barnett, Steven Crowder, John Stolpe, asst. engs. AAD? TT: 34:16<BR> Performance <B>****?</B><BR> Sonics <B>****?</B>

I've heard my share of Krells, Levinsons, Rowlands, and the like in other people's systems&mdash;expensive solid-state amplifiers are not my usual beat. With the exception of an inexpensive Adcom a few years back, for more than a decade I've owned and reviewed only tube amps. In fact, until the $7500 Ayre Acoustics V-1 showed up, I'd not had one in my system. Similarly, I'd had only tube <I>pre</I>amps until I reviewed the Ayre K-3, which so impressed me that I asked to hear the <A HREF="http://www.stereophile.com//amplificationreviews/609/">more expensive K-1</A>&mdash;and ended up buying it.

<I>"Gotta get my hands on these!"</I>

Flat frequency reponse in an audio component is good, right? Well, maybe not always, explains J. Gordon Holt in <A HREF="http://www.stereophile.com//asweseeit/138/">Down With Flat!</A> JGH: "Many times in past years I have been impressed by the incredible flatness of the measured high-end response of some speakers. . . . In every such case, I have been equally amazed at how positively awful those loudspeakers <I>sounded</I>&mdash;so tipped-up at the high end that I could not enjoy listening to them."

Country music reached the peak of its popularity six years ago, when it claimed 18.7% of the recorded-music audience. Since then, it has steadily declined to its present 14.1%, according to the <A HREF="http://www.riaa.com/">Recording Industry Association of America</A>'s 1998 Consumer Profile. Reasons for the decline include the increasing crossover of country stars into pop and rock styles, a phenomenon that has broadened many artists' reach and made acts like Garth Brooks and Shania Twain household names among folks who may not previously have paid much attention to country. Crossing over, unfortunately, also dilutes the support of traditional music fans. Apart from the twang in the vocals, much current "country" music sounds amazingly like the rock and pop of 10-15 years ago.