Loudspeaker design is an art <I>and</I> a science. Anyone who tells you it's only one or the other is probably building or listening to some awful-sounding speakers. Design a speaker in an anechoic chamber for the "theoretical" world, and there's no guarantee it will sound good in the real one. Even building a speaker that excels at "real-room" measurements doesn't guarantee that it will sound all that convincing when reproducing music. We can't measure everything, and what we <I>can</I> measure can't be reliably ranked in terms of what's important to most listeners.

Loudspeaker design is an art <I>and</I> a science. Anyone who tells you it's only one or the other is probably building or listening to some awful-sounding speakers. Design a speaker in an anechoic chamber for the "theoretical" world, and there's no guarantee it will sound good in the real one. Even building a speaker that excels at "real-room" measurements doesn't guarantee that it will sound all that convincing when reproducing music. We can't measure everything, and what we <I>can</I> measure can't be reliably ranked in terms of what's important to most listeners.

Loudspeaker design is an art <I>and</I> a science. Anyone who tells you it's only one or the other is probably building or listening to some awful-sounding speakers. Design a speaker in an anechoic chamber for the "theoretical" world, and there's no guarantee it will sound good in the real one. Even building a speaker that excels at "real-room" measurements doesn't guarantee that it will sound all that convincing when reproducing music. We can't measure everything, and what we <I>can</I> measure can't be reliably ranked in terms of what's important to most listeners.

Loudspeaker design is an art and a science. Anyone who tells you it's only one or the other is probably building or listening to some awful-sounding speakers. Design a speaker in an anechoic chamber for the "theoretical" world, and there's no guarantee it will sound good in the real one. Even building a speaker that excels at "real-room" measurements doesn't guarantee that it will sound all that convincing when reproducing music. We can't measure everything, and what we can measure can't be reliably ranked in terms of what's important to most listeners.

Our first of three loudspeaker reviews from the April 2004 issue finds Michael Fremer listening to the <A HREF="http://www.stereophile.com/loudspeakerreviews/404aerial">Aerial Model 20T loudspeaker</A>. MF explains, "Loudspeaker design is an art <I>and</I> a science. Anyone who tells you it's only one or the other is probably building or listening to some awful-sounding speakers." Fremer ponders whether Aerial has managed to achieve that perfect balance.

On April 9, the European Commission announced that it was suspending its antitrust investigation into the proposed merger between the music divisions of Sony Corporation and German media conglomerate Bertelsmann AG.

An old adage has it that one common type of fool believes that anything new must be better.

From the December 2001 issue, Robert Deutsch tries something completely different when he fires up the <A HREF="http://www.stereophile.com/amplificationreviews/120147">47 Laboratory 4706 Gaincard power amplifier</A>. RD notes, "The pursuit of simplicity in the design of solid-state audio electronics is perhaps best exemplified by the products from 47 Laboratory." Less is often more, but with the 4706 Gaincard, is it better?

Will the decline ever end for the music business?