Revised for 2012, the Stereophile Buyer’s Guide is now on newsstands. In its 188 pages, you’ll find the complete specs and prices for over 4500 audio components&#151everything from turntables, tonearms, and cartridges to amplification, digital components, loudspeakers, headphones, and cables. The Guide also includes an index to manufacturers on the Web to help you locate the products you’re most interested in.

My "As We See It" in the July 2011 issue seems to have touched a nerve. At the AXPONA NYC audio show last June, more than one person stopped me in a corridor to take issue with what they thought I'd written.

That column certainly brought the Beethoven worshippers out of the woodwork. Look, I revere Beethoven, and I stand by what I wrote in the July issue: There can be little doubt, in terms of his impact on the course that Western music would follow, that Beethoven was the most important composer. But "most important" in terms of music history is not the same thing as the composer whose works most deeply touch my heart. For that, Beethoven is just not in my Top Five.

Bruckner Symphonies 4, 7, 9
(Finale of 9 completed by Carragan, ed. 2010)
Gerd Schaller, Philharmonie Festiva
Profil PH11028 (4 CDs). 2008/2009/2011. Ememkut Zaotschnyj (4, 7), Lutz Wildner (9), prods.; Sandro Binetti (4, 7), Herbert Fr ühbauer (9), engs. DDD. TTs: 65:43 (4), 64:52 (7), 83:41 (9)
Performance *****
Sonics ***** (4, 7), ****½ (9)

These performances were recorded at the Ebrach Festival, held annually in the small town of Ebrach, Germany (an hour's drive north from Nuremberg or west from Bayreuth), in the former Abbey Church of Ebrach, which comprised a Cistercian monastery (now a prison) and a vast gothic cathedral built in the 13th century which now serves as the parish church. Many hear the phrases "festival orchestra" and "live recording" and expect the worst: flawed documents of underrehearsed performances by hastily convened pickup orchestras in venues not designed for good sound, and plagued by coughs, sneezes, scraped chair legs, the inadvertent rustlings of hundreds of attendees, and a level of applause that might not conform to the response of the listener at home.

Spectral Audio , the northern California company whose director of engineering is Prof. Keith O. Johnson, gave the first public preview of its SDR-4000SL Master CD Processor on September 24, at Music Lovers Audio, in Berkeley. Introduced by Johnson and Spectral founder Richard (Rick) Fryer, the $19,000 Spectral Digital Resolution (SDR) model sounded sensational playing 16-bit/44.1kHz, HDCD-encoded files Johnson had made for Reference Recordings, through a system that included Spectral's DMC-30SS preamplifier and monoblock amplifiers, Wilson Audio MAXX 3 speakers, Spectral Ultralink II speaker cables, the MIT Z Duplex conditioner, Synergistic Research's controversial ART system, and other room treatments.

We were sitting near the pool, in a cozy, private cabana on the outdoor terrace of the Trump Plaza Residences in downtown Jersey City, surrounded by all kinds of beauty: To the north, the old Powerhouse Building stood proud, strong, and silent; to the south, Exchange Place's Colgate Clock was just beginning to glow, extending its tireless arms toward Lower Manhattan; to the east, the Empire State Building soared into the humid evening sky, its white-lit spire making thin veils of the summer clouds; and to the west, the redbrick row houses of Harsimus Cove hummed with the sounds of quiet domestic life. Before us stretched a long table covered with delicious treats: cheeses, meats, and crackers; olives, grapes, and hummus; bottles of beer, vodka, and wine. We were at Shana's place, with Natalie, Nicole, and Daniela—Kristin was there, too. And all I could think about were loudspeakers.

In large part because I was fascinated by the potential of Direct Acoustics' Silent Speaker II loudspeaker ($748/pair) in affordable systems (see my columns in the June 2011 and August 2011 issues), I rounded up three CD receivers that are network- and Internet Radio–ready and cost under $1000: one each from TEAC, Marantz, and Denon. These models are functionally and cosmetically more similar than different, and, it turned out, sounded more alike than not.

Wynton Marsalis: Baroque Music for Trumpets
Vivaldi: Concerto for 2 Trumpets, RV 537; Telemann: Concertos for 3 Trumpets, in B-flat and D; Pachelbel: Canon for 3 Trumpets (arr. Leppard); M. Haydn: Concerto for Trumpet; Biber: Sonata for 8 Trumpets & Orchestra
Wynton Marsalis, piccolo trumpets; Raymond Leppard, English Chamber Orchestra
CBS M 42478 (LP), MK 42478 (CD). Bud Graham & Steven Epstein, engs.; Steven Epstein, prod. DDD. TT: 47:18

There are very few musically satisfying compositions for solo trumpet. A great deal of the standard repertoire is Baroque, and that primarily of the Paradestuck (parade, or showoff piece) school. Of Wynton Marsalis's five Masterworks releases, at least three fall into this category, the present one most of all. There are gimmicks galore here, of composition, arrangement, and recording—Wynton Marsalis, genius of all trades, overdubbing himself ad infinitum through digital wizardry. The fact is, given the music, such an approach is probably the most appropriate; certainly no one listens to the Biber Sonata for 8 Trumpets for profound spiritual insight, and none of this music was written to stretch the boundaries of anything but the trumpeter's chops. In the recording of such antiphonal works, the 18th century's version of "special effects" or "stereo spectaculars," it makes sense that the soloists seem as telepathically in tune with one another's playing as possible. So why not use the same single player?