I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of <A HREF="http://www.stereophile.com/hirezplayers/dcs_puccini_sacd_playback_syste… Puccini U-Clock and Puccini</A> player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the <A HREF="http://www.stereophile.com/digitalprocessors/bel_canto_usb_link_2496_us… Canto USB Link 24/96</A> and <A HREF="http://www.stereophile.com/digitalprocessors/lindemann_amp_stello_usb-s… U2</A> USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a <A HREF="http://www.stereophile.com/digitalprocessors/886">Benchmark DAC1</A> D/A headphone amplifier.

I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of <A HREF="http://www.stereophile.com/hirezplayers/dcs_puccini_sacd_playback_syste… Puccini U-Clock and Puccini</A> player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the <A HREF="http://www.stereophile.com/digitalprocessors/bel_canto_usb_link_2496_us… Canto USB Link 24/96</A> and <A HREF="http://www.stereophile.com/digitalprocessors/lindemann_amp_stello_usb-s… U2</A> USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a <A HREF="http://www.stereophile.com/digitalprocessors/886">Benchmark DAC1</A> D/A headphone amplifier.

I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of <A HREF="http://www.stereophile.com/hirezplayers/dcs_puccini_sacd_playback_syste… Puccini U-Clock and Puccini</A> player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the <A HREF="http://www.stereophile.com/digitalprocessors/bel_canto_usb_link_2496_us… Canto USB Link 24/96</A> and <A HREF="http://www.stereophile.com/digitalprocessors/lindemann_amp_stello_usb-s… U2</A> USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a <A HREF="http://www.stereophile.com/digitalprocessors/886">Benchmark DAC1</A> D/A headphone amplifier.

I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of <A HREF="http://www.stereophile.com/hirezplayers/dcs_puccini_sacd_playback_syste… Puccini U-Clock and Puccini</A> player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the <A HREF="http://www.stereophile.com/digitalprocessors/bel_canto_usb_link_2496_us… Canto USB Link 24/96</A> and <A HREF="http://www.stereophile.com/digitalprocessors/lindemann_amp_stello_usb-s… U2</A> USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a <A HREF="http://www.stereophile.com/digitalprocessors/886">Benchmark DAC1</A> D/A headphone amplifier.

I have built up a large collection of CDs since the medium's launch more than a quarter century ago, along with a modest number of SACDs and a small number of DVD-As. But I find these days that, unless I'm getting down to some serious listening and can give the music my uninterrupted attention, I use iTunes to feed computer files to my high-end rig (footnote 1). I've mostly been using the superb-sounding combination of <A HREF="http://www.stereophile.com/hirezplayers/dcs_puccini_sacd_playback_syste… Puccini U-Clock and Puccini</A> player/DAC that I reviewed last December to take a USB feed from a Mac mini, but I've also been using the <A HREF="http://www.stereophile.com/digitalprocessors/bel_canto_usb_link_2496_us… Canto USB Link 24/96</A> and <A HREF="http://www.stereophile.com/digitalprocessors/lindemann_amp_stello_usb-s… U2</A> USB-S/PDIF converters, particularly for headphone listening, when I use one of those two format converters with a <A HREF="http://www.stereophile.com/digitalprocessors/886">Benchmark DAC1</A> D/A headphone amplifier.

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good&#151;just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good&#151;just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good&#151;just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good&#151;just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good—just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.