And now for something completely different.

And now for something completely different.

Before launching into <I>Stereophile</I>'s first-ever report on a Mark Levinson product, an important point needs to be clarified. Although Mark Levinson products were originally made by Mark Levinson, they are no longer. <I>Au contraire</I>, Mark Levinson products are now being made by Madrigal, Ltd., which bought Mark Levinson Audio Systems' assets and trademark two years ago. Mark Levinson's products, as distinguished from Mark Levinson products, are now being manufactured by a company called Cello. But the subject of this report, the Mark Levinson ML-7A preamplifier, is a product of Madrigal, Ltd., not of Cello. Now that I've made that all perfectly clear, we may proceed.

Before launching into <I>Stereophile</I>'s first-ever report on a Mark Levinson product, an important point needs to be clarified. Although Mark Levinson products were originally made by Mark Levinson, they are no longer. <I>Au contraire</I>, Mark Levinson products are now being made by Madrigal, Ltd., which bought Mark Levinson Audio Systems' assets and trademark two years ago. Mark Levinson's products, as distinguished from Mark Levinson products, are now being manufactured by a company called Cello. But the subject of this report, the Mark Levinson ML-7A preamplifier, is a product of Madrigal, Ltd., not of Cello. Now that I've made that all perfectly clear, we may proceed.

Before launching into <I>Stereophile</I>'s first-ever report on a Mark Levinson product, an important point needs to be clarified. Although Mark Levinson products were originally made by Mark Levinson, they are no longer. <I>Au contraire</I>, Mark Levinson products are now being made by Madrigal, Ltd., which bought Mark Levinson Audio Systems' assets and trademark two years ago. Mark Levinson's products, as distinguished from Mark Levinson products, are now being manufactured by a company called Cello. But the subject of this report, the Mark Levinson ML-7A preamplifier, is a product of Madrigal, Ltd., not of Cello. Now that I've made that all perfectly clear, we may proceed.

In the four years since our last readership survey, Stereophile's circulation has grown by one third, from 45,000 to over 60,000 (footnote 1). We thought it time, therefore, to commission new numbers, from specialists Mediamark Research Inc. (footnote 2). Table 1 shows the demographic breakdown of the magazine's readers. While the launch of CD did bring more women into the audiophile fold almost 10 years ago, the proportion of Stereophile's female readers has not changed since 1988, at just over 1% (footnote 3). At one of the panel sessions at the 1992 High End Hi-Fi Show in Los Angeles, a man in the audience asked why high-end audio was so testosterone-bound when women were just as interested in music as men? The answers given by some of the many women at the show ranged from the fact that women only earn 47 cents on the dollar compared with men to conjecture that women are turned off by the hobby's tweak aspect. Certainly dealer Andrew Singer felt last October (footnote 4) that the high-end industry is hobbling itself by ignoring half the US's population.

<B>KEITH JARRETT: <I>Paris Concert</I></B><BR>
Keith Jarrett, piano<BR>
ECM 1401 (839 173-2, CD only). Peter Laenger, Andreas Newbronner, engs.; Manfred Eicher, prod. DDD. TT: 50:17

A letter in the April 1988 issue (Vol.11 No.4) from reader Harold Goldman, MD, decried the seemingly appalling failure rate of high-end products, citing a $10,000/pair power amplifier, an $11,000 turntable, and a $1500 CD player which had all been reported in recent issues as having failed during or shortly after testing by <I>Stereophile</I>. And Dr. Goldman's list was far from complete. We have also experienced during the past couple of years the failure, or inoperation upon delivery, of two $2500 solid-state power amplifiers, a $1700 subwoofer, a $5000 hybrid amplifier, two pairs of $1200 loudspeakers, several pairs of under-$1000 loudspeakers, and many CD players costing over $1000 each, mainly those based on Philips transports.

Some time ago I wrote about the need for high-end audio companies to constantly reinvent themselves: You may be receiving accolades for your latest and greatest product, but you'd also better be well along the path to developing its replacement. High-end audio is a field of constant change; no product remains supreme for long.