February is traditionally the month for music features, so I start this column with some recordings you really should hear. This year I had a greater-than-usual number of worthy candidates for "<A HREF="http://www.stereophile.com/Records%202%20Die%204">Records To Die For</A>." Which discs got named as R2D4s and which got column coverage was, to quote the Iron Duke, a near-run thing.

February is traditionally the month for music features, so I start this column with some recordings you really should hear. This year I had a greater-than-usual number of worthy candidates for "<A HREF="http://www.stereophile.com/Records%202%20Die%204">Records To Die For</A>." Which discs got named as R2D4s and which got column coverage was, to quote the Iron Duke, a near-run thing.

February is traditionally the month for music features, so I start this column with some recordings you really should hear. This year I had a greater-than-usual number of worthy candidates for "<A HREF="http://www.stereophile.com/Records%202%20Die%204">Records To Die For</A>." Which discs got named as R2D4s and which got column coverage was, to quote the Iron Duke, a near-run thing.

February is traditionally the month for music features, so I start this column with some recordings you really should hear. This year I had a greater-than-usual number of worthy candidates for "<A HREF="http://www.stereophile.com/Records%202%20Die%204">Records To Die For</A>." Which discs got named as R2D4s and which got column coverage was, to quote the Iron Duke, a near-run thing.

During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and <A HREF="http://www.stereophile.com/interviews/sheffield_steel_doug_sax">Doug Sax</A> had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.

During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and <A HREF="http://www.stereophile.com/interviews/sheffield_steel_doug_sax">Doug Sax</A> had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.

During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and <A HREF="http://www.stereophile.com/interviews/sheffield_steel_doug_sax">Doug Sax</A> had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.

Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.