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Mirror Mirror, the third album from Glasgow band Sons & Daughters, opens with a single note from a vintage synth. Barely audible at first, it grows and grows and rises vertically in the soundstage&#151for 15 seconds it grows: a sharp white light in an otherwise dark room&#151building tension, warning of some sort of danger, as it goes. This high-pitched note is met first by stomping feet, then by clapping hands&#151single file and far, far off, but growing in size and intensity&#151before finally being joined by the voices of Adele Bethel and Scott Paterson, singing, strangely singing, barely singing at all, more chanting, intoning, repeating, casting:

On the first day of the California Audio Show, I heard some of the most beautiful music in a room hosted by Acoustic Analysis, The Tape Project, and Bottlehead, featuring a system made of Focal Diablo Utopia loudspeakers, Focal SW1000 Be subwoofers, a VTL TL-6.5 Signature line preamp and MB-450 Signature III monoblock power amplifiers, Siltech cables, and a Bottlehead-modified Otari tape machine. The music had such a smooth, effortless quality to it, unlike anything else I heard at the show: The sound of tape. It was an awesome listening experience.

On the following evening, I got to visit the mastering studio where the team from The Tape Project does its work.

The past 12 months have seen some remarkable developments in digital playback. Standards of digital musicality are far higher than they were a year ago, both on an absolute performance basis and in terms of what you get at various price levels. No other component category has seen such tremendous gains in value for money or number of new products introduced. It seems hard to believe that since Vol.13 No.6 (12 issues ago), we've reviewed such noteworthy digital processors as the Meridian 203, Proceed PDP 2, Stax DAC-X1t, Theta DSPro Basic, Wadia X-32, Esoteric D-2, PS Audio SuperLink, and VTL D/A. Each of these converters brought a new level of performance to its price point—or, in the case of the Stax and VTL, established a new benchmark of ultimate digital performance.

Just as these units provided stiff competition for previous products, so too will they come under the assault of improving technology. The art of digital processor design is so young that we can continue to expect further improvements coupled with lower prices as designers move up the learning curve.

This story originally appeared at InnerFidelity.com

Enthusiasts recently mourned the death of the Denon AH-D1001 --- a really good sounding sealed headphone at just above $100. Lament no more. This Foster OEM design (model 443741) has found rebirth as the Creative Aurvana Live!

The very good news: it's even better than before.

For awhile, we were at our wit’s end, feeling buried alive, but everything is okay now: We just finished shipping our massive October issue to pre-press. At 212 pages, it’s our largest issue since October 2008.

We’ll see the proofs on Monday. Until then, we can relax.

To help us do that, we have Cass McCombs’ “Buried Alive,” from the achingly beautiful Wit’s End.

This is one of Jaime's favorites, and Jaime is one of mine.

Cass McCombs' Wit's End is out now on Domino Records. The album is available on CD, LP, and cassette. (Yes, cassette!)

Talk about the R.E.M. catalog with most music people and the conversation usually comes down to albums released during the years the band spent on its original label, the late, great I.R.S. Records.

I was fortunate enough to be raised in an environment where music of many kinds was played often. I lived with my mother in small apartments in Washington, DC, in the 1960s and '70, and most of the time, music was playing. Chopin, Wagner, Beethoven, Coltrane, Miles, Sonny Rollins, Streisand, Baez, Dylan, Miriam Makeba—even the Doors, Hendrix, and Janis Joplin.