LATEST ADDITIONS

My favorite: "I will not have Henry throwing tomatoes at a spinning fan blade whilst yelling at Montjoy."

As a writer, I applaud the new essay section of the SAT, but Karin Klein got up close and personal with it by passing the test to <I>score</I> the essays. She discovered some interesting things about taking&mdash;and scoring&mdash;the SATs.

A site dedicated to the BBC's Old Radio Broadcasting Equipment an Memories. Lots of microphone porn&mdash;and lots of other audio-related goodness.

Stereo is now just one option in setting up a system. But is it the option you prefer, or does multichannel do it better for you? If you listen to SACD, which do you prefer (assuming both are available on the disc): the stereo mix or the multichannel mix?

Speaking at the Music 2.0 conference in Los Angeles on February 23, Yahoo Music's general manager Dave Goldberg startled listeners with a statement probably never previously heard from the head of a for-pay digital music service: Lay off the DRM.

As much as I'm tempted by the impressive sweep and scale with which some of the large, full-range loudspeakers endow music, for some reason I find myself more at home with more compact examples of the breed. This is not through lack of familiarity with large speakers, a pair of <A HREF="http://www.stereophile.com/floorloudspeakers/506">B&W Matrix 801</A>s occupying pride of place in our living room (which also serves as my wife's listening room). Yet I find myself hankering after that ultimate soundstage precision that only minimonitors seem capable of producing: the loudspeakers totally disappearing, vocal and instrumental images hanging in space, truly solid&mdash;the prefix "stereo-" is derived from the Greek word <I>stereos</I>, which means solid&mdash;so that a rectangular, totally transparent window into the concert hall opens at the rear of your room. In addition, the necessarily limited low-frequency extension offered by small speakers makes it much easier to get the optimum integration with the room acoustics below 100Hz.

Even to a nontechnical observer, someone without a deep grasp of the germane technical issues, the Amazing Loudspeaker should indeed prove a source of amazement. First of all, there's no box. Don't mistake the back grille for an enclosure&mdash;if you pass your hand along the Amazing's behind, you'll realize that the grille is merely a cosmetic cover; you can actually stroke the woofer magnets if you're so inclined. Yet without an enclosure or electronic trickery, this speaker boasts excellent dynamic headroom and true flat bass extension almost to 20Hz. Just think of the woodworking costs inherent in trying to coax such low-end performance from a conventional box speaker. The savings in carpentry have been put toward one heavy-duty ribbon design. The Amazing begins to sound like an incredible bargain at its modest (by high-end standards) asking price. What's the catch? Fundamentally, the answer lies in superior engineering. And, as Bob Carver will readily admit, good engineering isn't inherently any more costly than bad engineering.