It’s Thanksgiving time, and New York jazz fans know what that means. No, not the Macy’s parade down Broadway or the lighting of the Christmas tree in Rockefeller Center. The really big shows for our crowd—annual traditions for a while now—are the Maria Schneider Jazz Orchestra at the Jazz Standard and Jason Moran’s Bandwagon Trio at the Village Vanguard.

The December issue is here and it features our annual "Products of the Year" (cutely referred to as "PotY" in-house). 67 products made it through to the final round of voting from the magazine's editors and reviewers—read Art Dudley's comments to find out who the winners are.

I was shocked when I learned that my dear friend Harry Pearson had passed away, on November 4 . . .

Bethesda, MD retailer JS Audio (4919 St. Elmo Avenue) is having an open house Saturday November 22, 12pm–4pm to debut the new Audio Research Galileo Series amplifier and preamplifier with the Wilson Audio Alexandria XLF loudspeakers!

Hi-fi firms have begun in garages. The English Spendor company was started in a bathtub. Or was it a kitchen sink?

By days in the late 1960s and early 1970s, Spencer Hughes worked as part of the BBC's loudspeaker research team. Among other accomplishments, he helped develop the 5" midrange/woofer for the fabled LS3/5A loudspeaker.

To audiophiles who are aware that their household line voltage changes under varying loads, and have observed the absolutely fantastic differences in the sound of their system when the next-door neighbor turns on Junior's night light, it may come as a surprise to learn that there are folks out there who think you're full of crap. That's right, Virginia, they don't think you can really hear all those things you pretend to hear. (You are only pretending, aren't you?) They can't hear all those things, so how can you? Well, sometimes they can. They'll even admit that. But those tiny little differences are so trivial that they don't matter no more than a fruitfly's fart. That's the word in scientific circles these days. Or haven't you been following the "establishment" audio press lately?

Natural sounds produce different waveshapes during their positive and negative phases, and playback-system polarity reversal often changes the reproduced sound. Does this mean our ears are phase-responsive, or is there something else here we've been overlooking?

There has been much discussion recently among perfectionists about the importance of what is called "absolute phase" in sound reproduction. Basically, the contention has been that, since many musical sounds are asymmetrical (having different waveforms during positive and negative phases), it is important that a system make the proper distinctions between positive (compression) and negative (rarefaction) phases in playback.