<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

<A HREF="http://blog.stereophile.com/ces2009/now_thats_what_i_call_music">James Bongiorno</A>, the engineer behind the Sumo Andromeda, has enjoyed a long and colorful career as an audio amplifier designer. He has cast himself at times as an <I>enfant terrible</I>, exploding at audio critics and running scandalous advertisements (footnote 1). His best-known amplifier is the Ampzilla, produced by Great American Sound, but he also designed the Dyna 400. Currently Jim is living on a boat and serving as part-time consultant to the Sumo Company.

According to a recent Consumer Electronics Association's (CEA) <A HREF="http://www.ce.org/Press/CurrentNews/press_release_detail.asp?id=11935">… release</A>, "CE Industry to Surpass $174 billion in 2010, Reach Record High by 2011," sales forecasts are far more optimistic than had been expected. While the figures aren't easily translatable to the high-end market (which the CEA identifies as "high-performance audio"), some consumer-electronic (CE) trends give cause for qualified optimism, and provide clues as to which products may prove most profitable for manufacturers and dealers.

On the train this morning, deep into Aaron Copland’s classic, <i>What to Listen for in Music</i>, which Art Dudley discusses in our November issue, I read a bit about rhythms and polyrhythms. Copland is giving a brief history on the use and evolution of rhythm in modern Western composition, explaining how we got from basic two-four time marches to much more complex combinations of two or more independent rhythms in varying times. This is what I read: