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While it may elicit shakes of the head, nasty, distasteful looks, or vociferous yawps about its being nothing more than a load of warmed-over psychedelic pandering, the time may have come to listen again to Their Satanic Majesties Request, the much-maligned 1967 album by the Rolling Stones—and perhaps think of it in a slightly more humane light. Few records from that or any other era have been as widely savaged. It's easy to make the argument that any record with such a pretentious title deserves to be ridiculed. The music itself is scattered and feels unfinished in spots. Then there's that cover image.

Dear Reader,

Not long ago, I lost patience with coffee.

Before that, I'd never quite made it to coffee-nerd status, but I had all four wheels on the onramp. A few years ago I got rid of my cheap coffeemaker and switched to a French press, because it was more hands-on. I started buying whole beans instead of ground coffee, and grinding them in the store's grinder, on its coarsest setting. When that wouldn't do, I bought an inexpensive electric coffee grinder. When that wouldn't do, I bought a manual grinder.

Having heard some impressive, cost-no-object audiophile systems at TAVES, I returned to the Totem room to listen to the Tribe Tower, and continued to marvel at the power and sheer musicality of this system…

If you do a Google search for "loudspeaker" combined with "full-range," "line source," "one-way," and "modular," you'll get results that match some, but not all, of the characteristics of the Ruel Audio R7. The Audience ClearAudient 16+16 comes the closest, with 16 drivers firing forward and 16 to the back, but its small full-range drivers are supplemented with eight 6x9" passive radiators, and it does not have modular construction. Plus, it appears not to be in production. For that matter, Google misses Ruel, but it has been granted a provisional patent.

It's day five of our planned month-long stay à Paris, late April through most of May. My wife is here for work—for me, it's strictly for pleasure—and we're enjoying Paris's rich, sensual goodness: food, museums, architecture, coffee, people, food. And yet, earlier today, when we were out for a walk—we've been walking close to 10 miles each day, exploring the city—I realized that my life here has been missing something important.

The Toronto Audio Video Entertainment Show (TAVES) has changed its venue. The show that now bills itself "North America's ULTIMATE Technology & Hi-Fi Show" has moved from the suburban Sheraton/Best Western location of the past two years to the Toronto Congress Centre, near the airport.

Why the move? Suave Kajko, President of TAVES, cites several reasons: the venue wanted to literally double the price for the large rooms; the Best Western hotel was the source of many complaints from exhibitors, and, in any case, is scheduled for demolition, and the show was bursting at the seams in terms of space (they didn't have enough space for booth exhibitors).

How many times have I asked myself what the purpose of music is? And what music really is, and what exactly I am trying to convey. What feelings? What ideas? How can I explain something that I myself cannot fathom?—Gabriel Fauré, letter to his wife, August 31, 1903

In writing reviews for Stereophile, I face a challenge. Whether I'm evaluating an audio component, a recording, or a live performance, I'm confronted by the fact that, when all is said and done, no one fully understands why or how the sound of a particular component, composition, or artist can affect us as powerfully as so many of them do. How and why music and sound moves us remains, fundamentally, a mystery.