When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

When I interviewed recording engineer Roy Halee (Simon and Garfunkel, The Byrds, The Lovin' Spoonful, etc.) at his home in Connecticut back in 1991, he pointed to his pair of monolithic Infinity IRS loudspeakers and said, "When I want to listen for pleasure, I listen to those." He then pointed to a pair of early-edition Wilson Audio Specialties WATT/Puppys in a second system set up in the corner of his large listening room. "When I want to hear what's on a recording I've made, I listen to <I>those</I>." It was obvious: Halee respected the Wilsons, but he <I>loved</I> the Infinitys. Not surprising, since <A HREF="http://www.stereophile.com//interviews/478/">Dave Wilson</A> designed the WATT section to be a highly accurate portable monitor, and monitors are designed for respect, not love.

If the new satellite radio products are any indication, the format has a bright future. During the first week of September, Kenwood and Antex Electronics announced new <A HREF="http://www.sirius.com">Sirius</A&gt; satellite receivers, and XM Radio has already dropped the price on its recently introduced "XM PCR," a controller that lets you listen to XM via your computer.

The <A HREF="http://www.riaa.com">Recording Industry Association of America</A> (RIAA) may issue a general amnesty to the music fans who have amassed libraries of favorite tunes by downloading them over the Internet, according to information leaked to <I>Billboard</I>, the <I>Hollywood Reporter</I>, and other publications the first week of September.

What can save the music industry? We've asked <A HREF="http://www.stereophile.com/showvote.cgi?241">the question</A> on this website a dozen times in several different ways and your responses are pretty much always the same: lower CD prices&mdash;closely followed by better music.