<B>John Atkinson on the Recording</B>
<BR>
"This will fix it!" Kimber Kable's Ray Kimber placed some acoustic baffles around the table on which sat my Apple TiBook. We were recording <A HREF="http://www.robert-silverman.com">Robert Silverman</A> performing one of Beethoven's masterworks for piano, the <I>Diabelli Variations</I>, Op.120, and I had been bothered by a faint whistle underlying the music. It turned out to be the sound of my laptop's fan, an unforeseen drawback of my decision to dispense with tape and record straight to hard drive for the August 2004 sessions. We had already had a problem with a slight slapback echo from the balcony of the Austad Auditorium at Weber State University in Utah, which Ray had fixed with drapes, and a problem with low-frequency rumble from airplanes overflying the college campus during one session had been solved by Ray phoning the air traffic control tower. However, even Ray couldn't deal with thunder, so that was the one session we decided to finish early.

<B>John Atkinson on the Recording</B>
<BR>
"This will fix it!" Kimber Kable's Ray Kimber placed some acoustic baffles around the table on which sat my Apple TiBook. We were recording <A HREF="http://www.robert-silverman.com">Robert Silverman</A> performing one of Beethoven's masterworks for piano, the <I>Diabelli Variations</I>, Op.120, and I had been bothered by a faint whistle underlying the music. It turned out to be the sound of my laptop's fan, an unforeseen drawback of my decision to dispense with tape and record straight to hard drive for the August 2004 sessions. We had already had a problem with a slight slapback echo from the balcony of the Austad Auditorium at Weber State University in Utah, which Ray had fixed with drapes, and a problem with low-frequency rumble from airplanes overflying the college campus during one session had been solved by Ray phoning the air traffic control tower. However, even Ray couldn't deal with thunder, so that was the one session we decided to finish early.

<B>John Atkinson on the Recording</B>
<BR>
"This will fix it!" Kimber Kable's Ray Kimber placed some acoustic baffles around the table on which sat my Apple TiBook. We were recording <A HREF="http://www.robert-silverman.com">Robert Silverman</A> performing one of Beethoven's masterworks for piano, the <I>Diabelli Variations</I>, Op.120, and I had been bothered by a faint whistle underlying the music. It turned out to be the sound of my laptop's fan, an unforeseen drawback of my decision to dispense with tape and record straight to hard drive for the August 2004 sessions. We had already had a problem with a slight slapback echo from the balcony of the Austad Auditorium at Weber State University in Utah, which Ray had fixed with drapes, and a problem with low-frequency rumble from airplanes overflying the college campus during one session had been solved by Ray phoning the air traffic control tower. However, even Ray couldn't deal with thunder, so that was the one session we decided to finish early.

<B>John Atkinson on the Recording</B>
<BR>
"This will fix it!" Kimber Kable's Ray Kimber placed some acoustic baffles around the table on which sat my Apple TiBook. We were recording <A HREF="http://www.robert-silverman.com">Robert Silverman</A> performing one of Beethoven's masterworks for piano, the <I>Diabelli Variations</I>, Op.120, and I had been bothered by a faint whistle underlying the music. It turned out to be the sound of my laptop's fan, an unforeseen drawback of my decision to dispense with tape and record straight to hard drive for the August 2004 sessions. We had already had a problem with a slight slapback echo from the balcony of the Austad Auditorium at Weber State University in Utah, which Ray had fixed with drapes, and a problem with low-frequency rumble from airplanes overflying the college campus during one session had been solved by Ray phoning the air traffic control tower. However, even Ray couldn't deal with thunder, so that was the one session we decided to finish early.

When I <A HREF="http://www.stereophile.com/standloudspeakers/365">reviewed</A&gt; JBL's S38 loudspeaker for the June 2001 issue of <I>Stereophile</I> (Vol.24 No.6), I was impressed with the performance of this large, inexpensive ($599/pair) bookshelf speaker. When I received a press announcement at the end of 2005 announcing JBL's new affordable speakers, the Studio L series, which incorporates innovations developed for JBL's recording-studio monitors, I began a discussion with JBL's public-relations firm. They promised many significant design innovations and sonic improvements over the S series.

When I <A HREF="http://www.stereophile.com/standloudspeakers/365">reviewed</A&gt; JBL's S38 loudspeaker for the June 2001 issue of <I>Stereophile</I> (Vol.24 No.6), I was impressed with the performance of this large, inexpensive ($599/pair) bookshelf speaker. When I received a press announcement at the end of 2005 announcing JBL's new affordable speakers, the Studio L series, which incorporates innovations developed for JBL's recording-studio monitors, I began a discussion with JBL's public-relations firm. They promised many significant design innovations and sonic improvements over the S series.

When I <A HREF="http://www.stereophile.com/standloudspeakers/365">reviewed</A&gt; JBL's S38 loudspeaker for the June 2001 issue of <I>Stereophile</I> (Vol.24 No.6), I was impressed with the performance of this large, inexpensive ($599/pair) bookshelf speaker. When I received a press announcement at the end of 2005 announcing JBL's new affordable speakers, the Studio L series, which incorporates innovations developed for JBL's recording-studio monitors, I began a discussion with JBL's public-relations firm. They promised many significant design innovations and sonic improvements over the S series.

When I <A HREF="http://www.stereophile.com/standloudspeakers/365">reviewed</A&gt; JBL's S38 loudspeaker for the June 2001 issue of <I>Stereophile</I> (Vol.24 No.6), I was impressed with the performance of this large, inexpensive ($599/pair) bookshelf speaker. When I received a press announcement at the end of 2005 announcing JBL's new affordable speakers, the Studio L series, which incorporates innovations developed for JBL's recording-studio monitors, I began a discussion with JBL's public-relations firm. They promised many significant design innovations and sonic improvements over the S series.

When I <A HREF="http://www.stereophile.com/standloudspeakers/365">reviewed</A&gt; JBL's S38 loudspeaker for the June 2001 issue of <I>Stereophile</I> (Vol.24 No.6), I was impressed with the performance of this large, inexpensive ($599/pair) bookshelf speaker. When I received a press announcement at the end of 2005 announcing JBL's new affordable speakers, the Studio L series, which incorporates innovations developed for JBL's recording-studio monitors, I began a discussion with JBL's public-relations firm. They promised many significant design innovations and sonic improvements over the S series.

<I>"The public will put up with anything except boredom."&mdash;Giuseppe Verdi</I>