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In a pre–Consumer Electronics Show announcement, Texas">http://www.ti.com">Texas Instruments says it has integrated its FireWire (IEEE1394), multichannel audio digital signal processor (DSP), and digital amplifier technologies in a single board to demonstrate an all-digital audio system from source to speaker.

From 1989 and 1992, John Atkinson reviews the Celestion">http://www.stereophile.com//loudspeakerreviews/744/">Celestion SL600si loudspeaker and the DLP600 digital equalizer. "Given that conventional equalizers are quite correctly regarded in Audioland as being poor-sounding pieces of cheap, amusical junk," JA asks, "what I am doing reviewing what, for want of a better word, is an equalizer?"

In a world where brand is everything and making money is the bottom line, it should come as no surprise that if there's a buck to be made, any deal is possible. But who would have imagined, 30 years ago, that the bad boys and girls of rock'n'roll would be married to the then-much-scorned icon of safe, watered-down elevator music?

Sam Tellig triggered a hailstorm of comment with his original review of the RadioShack">http://www.stereophile.com//digitalsourcereviews/480/">RadioShack Optimus CD-3400 portable CD player. After Tellig suggested that the modest player just might be a cheapskate audiophile delight, writers Corey Greenberg, Jack English, John Atkinson, Barry Willis, and Robert Harley each added his two cents. Some revealing but hitherto unpublished measurements are also included.

Writing 30 years ago, in the November, 1971 issue, J. Gordon Holt tried to anticipate the cries of Sellout">http://www.stereophile.com//asweseeit/483/">Sellout!? as Stereophile began taking its first ads from dealers. Holt wrote, "Before you throw your hands up in horror . . . bear with us for another couple of paragraphs while we explain why this decision on our part need not prompt you to cancel your subscription immediately."

Imagine this: You're a modern kind of audiophile, and your music library is loaded and sorted (without any compression, of course) onto a hard-disk–based audio system which is networked throughout the house. You've also got a hard-disk–based audio system in your car.

Although some record labels have scaled back plans to add restricted-use technology to all CD releases, efforts continue to find the protection formula that consumers, and in particular record labels, will accept.