LATEST ADDITIONS

There has been much argument in audiophile circles about whether an LP or a CD is a more faithful representation of a master tape. Although we recorded Robert Silverman's thrilling performance of the Liszt B-Minor Piano Sonata for <A HREF="http://www.stereophile.com//features/131/">CD release</A>, we also had in mind to issue an LP. As the source for both would be the same, the question we can answer is: Will an LP cut straight from a 20-bit master tape via a Class A 20-bit DAC sound closer than a CD noise-shaped to 16 bits from the same 20-bit original?

<B>MILES DAVIS QUINTET: <I>The Great Prestige Recordings</I></B><BR> Includes: <I>The New Miles Davis Quintet</I>, <I>Cookin'</I>, <I>Relaxin'</I>, <I>Workin'</I>, <I>Steamin'</I><BR> Miles Davis, trumpet; John Coltrane, tenor sax; Red Garland, piano; Paul Chambers, bass; Philly Joe Jones, drums.<BR> Analogue Productions APJ 035 (5 LPs). 1996. Bob Weinstock, original prod.; Rudy Van Gelder, original eng.; Chad Kassem, reissue prod.; Stan Ricker, mastering eng. AAA. TT: 3:11:09<BR> Music <B>*****</B><BR> Sonics <B>*****</B>

My name is Wes and I enjoy listening to music on headphones.

<B><I>The justification of art is the internal combustion it ignites in the hearts of men.</I>&mdash;Glenn Gould</B>

When I first heard about "Records To Die For," I had to laugh. "Desert Island Discs," maybe, but Records To Die For? Laying down your life for a record? World-class hyperbole. Throw yourself on a sword for a glob of petrochemicals? Not me. If your house was burning down, would you a) grab your child, b) grab your photos and other irreplaceable items (cats, loved ones, etc.), or c) grab your records?

Astute readers will note that although my name appears under the "hardware" heading of <I>Stereophile</I>'s masthead, I have rarely written about specific products, and, apart from secondary comments or Follow-Ups, have never written a formal equipment report. For years I resisted reviewing because I was usually connected in some way to audio manufacturers and/or retailers, and felt very uncomfortable with the conflict of interest. The other reason I was disinclined to review is that the critical listening required of reviewers is <I>work</I>, and after a long day or week of working on, or with, audio equipment, the only thing I wanted to do when I came home was relax. But since I have hung up my soldering iron and oscilloscope probe for what I hope is the last time, and am cleaving instead to my word processor (or, as playwright David Ives dubbed it, my "verboblender"), you may see more of this&mdash;WP, JA, and God willing.