Like most Americans, US audiophiles have little idea how difficult life can be for people in other countries. Imagine facing official censure for possessing some innocuous pop music, or taking 12 years to accumulate the complete works of one of your favorite rock groups. That was life in the old Soviet Union for <I>Stereophile</I> colleague Leonid Korostyshevski, who flew to Istanbul from Moscow on short notice, so we could spend a few days together prior to my embarking on a sailing trip in the eastern Mediterranean. The visit cemented a long-distance friendship established through numberless emails. It was also an in-depth education.

Art and commerce are butting heads once again, now that England's popular Brit Awards include a category for classical music. Last month's inaugural nominees included some highbrow names (Rachmaninoff, Bryn Terfel), but leaned heavily on such "crossover" artists as Paul McCartney for his orchestral forays, and classical violinist Kennedy (formerly known as Nigel Kennedy) for <I>The Kennedy Experience</I>, his CD inspired by Jimi Hendrix. Classical sales are still down, and record companies, one suspects, are latching onto quasi-classical popular works to boost the sector's profile. For traditionalists, of course, this shows that classical music is falling further into the cultural black hole of all things Madonna, Spice Girls, and McDonald's. They're pissed&mdash;in the American sense, that is.

The other night I heard The Tallis Scholars&mdash;the world's foremost exponents of Renaissance polyphony&mdash;sing in the Chorus of Westerly's performance hall, in Rhode Island: an 1886-vintage former Roman Catholic church with nearly all of its original horsehair plaster intact (footnote 1). Even sitting back in the cheap seats, the sound was glorious. I have never heard a vocal ensemble sing with more finesse, pitch security, or blend of tone.

The other night I heard The Tallis Scholars&mdash;the world's foremost exponents of Renaissance polyphony&mdash;sing in the Chorus of Westerly's performance hall, in Rhode Island: an 1886-vintage former Roman Catholic church with nearly all of its original horsehair plaster intact (footnote 1). Even sitting back in the cheap seats, the sound was glorious. I have never heard a vocal ensemble sing with more finesse, pitch security, or blend of tone.

The other night I heard The Tallis Scholars&mdash;the world's foremost exponents of Renaissance polyphony&mdash;sing in the Chorus of Westerly's performance hall, in Rhode Island: an 1886-vintage former Roman Catholic church with nearly all of its original horsehair plaster intact (footnote 1). Even sitting back in the cheap seats, the sound was glorious. I have never heard a vocal ensemble sing with more finesse, pitch security, or blend of tone.

If anyone ever thinks to compile a list of the 100 seminal audio papers that should be found in every tech-aware audiophile's filing cabinet, Harry Olson's "Direct Radiator Loudspeaker Enclosures" deserves to feature in it. Originally presented at the second Audio Engineering Society Convention, in October 1950, it was published in <I>Audio Engineering</I> in 1951. In 1969&mdash;in a rare and certain acknowledgement of its classic status&mdash;the AES republished it in its <I>Journal</I> (footnote 1).

If anyone ever thinks to compile a list of the 100 seminal audio papers that should be found in every tech-aware audiophile's filing cabinet, Harry Olson's "Direct Radiator Loudspeaker Enclosures" deserves to feature in it. Originally presented at the second Audio Engineering Society Convention, in October 1950, it was published in <I>Audio Engineering</I> in 1951. In 1969&mdash;in a rare and certain acknowledgement of its classic status&mdash;the AES republished it in its <I>Journal</I> (footnote 1).

At last January's Consumer Electronics Show, one of the more musically satisfying rooms I visited in Las Vegas' Alexis Park Hotel was hosted by Canadian magazine <I>Inner Ear Report</I>. I had visited the room ostensibly to take a look at the Audiophile APS AC regeneration system, but I also wanted to give a listen to the Gershman Acoustics Opera Sauvage speakers that I had agreed to review for <I>Stereophile</I>&mdash;not just the speakers in the abstract, but the very samples that, after CES, were going to make the trek to my Brooklyn listening room.

At last January's Consumer Electronics Show, one of the more musically satisfying rooms I visited in Las Vegas' Alexis Park Hotel was hosted by Canadian magazine <I>Inner Ear Report</I>. I had visited the room ostensibly to take a look at the Audiophile APS AC regeneration system, but I also wanted to give a listen to the Gershman Acoustics Opera Sauvage speakers that I had agreed to review for <I>Stereophile</I>&mdash;not just the speakers in the abstract, but the very samples that, after CES, were going to make the trek to my Brooklyn listening room.