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It is spring! Without doubt, it is spring. The skinny trees on Monmouth Street have suddenly bloomed all pink and purple and white, while the birds outside my kitchen window have learned to sing new songs. They make a wonderful racket in the morning. I like it. It makes me feel somehow closer to the world, to nature, to love and god and shit. This music of spring is a nice contrast to the sirens and jack hammers that normally make up a Jersey City morning.

No matter how well you think you know the specialized world of high-end audio, there are always new companies, new technologies, and new products you just haven't gotten around to knowing yet.

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<B>ENRICO RAVA/STEFANO BOLLANI: <I>The Third Man</I></B><BR>
Enrico Rava, trumpet; Stefano Bollani, piano<BR>
ECM 2020 (CD). 2007. Manfred Eicher, prod.; Stefano Amerio, Gabriele Kamm, engs. DDD. TT: 72:06<BR>
Performance ****1/2<BR>
Sonics ****

The audiophile psyche is deep and complex. Or is it? What do you hope to accomplish by being interested in audio reproduction?

To high-end audiophiles, the Boulder 500 amplifier and its less expensive derivative, the 500AE (Audiophile Edition), would not seem to be "high-end" designs. They are designed around op-amps (felt by many to be generally poor-sounding), they have scads of negative feedback (which is perhaps why op-amps sound bad), and they have only a moderately hefty power supply. Why, then, is <I>Stereophile</I> publishing a review of an op-amp&ndash;based power amplifier? Read on...

At a "Meet the Designers" panel discussion at the 1992 Los Angeles <I>Stereophile</I> High-End Hi-Fi Show, I asked a group of successful digital designers (footnote 1) each to state how much of a digital front end's sound quality they believed was due to the transport, digital processor, and interface between the two. There was virtual unanimity: Nearly everyone agreed that a digital processor accounts for about 50% of a digital source's sound quality, the transport 30%, and interface 20%.