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The minuscule electrical output of an analog signal from a moving-coil cartridge needs to be boosted before it can be converted to digital and equalized in the digital domain. Of course, you could use your current phono preamplifier and record an equalized signal to hard disk, but then you wouldn't get to experience <A HREF="http://www.stereophile.com/computeraudio/pure_vinyl_lp_recording_amp_ed… Vinyl</A>'s digital RIAA correction&#151;nor would you be able to avail yourself of all the equalization curves provide by Pure Vinyl, of which there are almost too many to count.

The minuscule electrical output of an analog signal from a moving-coil cartridge needs to be boosted before it can be converted to digital and equalized in the digital domain. Of course, you could use your current phono preamplifier and record an equalized signal to hard disk, but then you wouldn't get to experience Pure Vinyl's digital RIAA correction&#151;nor would you be able to avail yourself of all the equalization curves provide by <A HREF="http://www.stereophile.com/computeraudio/pure_vinyl_lp_recording_amp_ed… Vinyl</A>, of which there are almost too many to count.

For just a few days now I’ve been receiving mysterious e-mails from “Jazz on the Tube.” At first I wondered if they were spam, and I was afraid to click on the links inside. But they all seemed harmless enough: A few kind and thoughtful words, a passion for jazz, a hand held out in friendship, a smile. So I clicked the link and was taken to a simple page with a narrow, white field against a black border and a YouTube video at the center.

The October issue of <i>Stereophile</i> shipped to press yesterday afternoon. (Hallelujah.) We are already deep into the November issue, while our new editorial assistant, <a href="http://blog.stereophile.com/stephenmejias/the_young_guy/">Ariel Bitran</a>, is tackling the <i>2011 Buyer’s Guide</i>. In addition to all of that, and on top of the regular stuff, the entire office is in <a href="http://blog.stereophile.com/stephenmejias/boltz_cd_rack/">the process of moving</a> onto the 6th floor of our 261 Madison Avenue location. Construction crews are tearing down walls and building new cubicles, painters are turning white and gray into blue and cream, movers are carrying tables and desks up flights of stairs. My office is cramped with <a href="http://blog.stereophile.com/stephenmejias/buried/">boxes</a&gt;, but this time they’re moving boxes.

Everyone wants something different from a loudspeaker. Some people value midrange neutrality above all, while others will sacrifice some of that accuracy to get extended lows or a speaker that will play immensely loud with only a few watts of power. Some want stereo imaging that is sufficiently delicate, stable, and accurate that the speakers open a transparent window on the recording's original performing space. Some will sacrifice all of the above to get a speaker whose "jump factor" can jerk zombies out of their stupor. And there are those who are prepared to lose just a little bit of everything in order to have a speaker that may not excel in any of these areas, but communicates what they want from their music in the most effective overall manner.