Audiophiles constantly seek ways to improve the experience of hearing reproduced music. Preamps are upgraded, digital processors are compared, turntables are tweaked, loudspeaker cables are auditioned, dealers are visited, and, yes, magazines are read—all in the quest to get just a little closer to the music.

As founder of California-based Vacuum Tube Logic of America, David Manley is at the forefront of the current renaissance in vacuum-tube audio equipment. In addition to manufacturing some highly regarded audiophile components, VTL has introduced a line of tubed professional equipment that is finding its way into recording studios. David has a lifetime of experience in tube electronics, recording studio design, disc cutting, music recording, and most recently, analog/digital and digital/analog converter design.

As founder of California-based Vacuum Tube Logic of America, David Manley is at the forefront of the current renaissance in vacuum-tube audio equipment. In addition to manufacturing some highly regarded audiophile components, VTL has introduced a line of tubed professional equipment that is finding its way into recording studios. David has a lifetime of experience in tube electronics, recording studio design, disc cutting, music recording, and most recently, analog/digital and digital/analog converter design.

The first time I ever heard stereo sound, it was in a shop on Manhattan's Radio Row. In addition to the Studer staggered-head tape deck, the system consisted of pairs of McIntosh C8 preamps, MC60 power amps, and monster Bozak B-310 speakers. I can still picture the room and almost hear the sound. I was then an impecunious high-schooler, and while I always strived to buy the best equipment I could afford, I unfortunately was never able to own any of these iconic products. However, when I saw McIntosh's new MC303 three-channel power amp glowing brightly on silent display at the 2008 CEDIA Expo, a light bulb went on over my head: I'd been assessing a series of three-channel and monoblock amps, and the MC303 would fit nicely into my New York City system.

The first time I ever heard stereo sound, it was in a shop on Manhattan's Radio Row. In addition to the Studer staggered-head tape deck, the system consisted of pairs of McIntosh C8 preamps, MC60 power amps, and monster Bozak B-310 speakers. I can still picture the room and almost hear the sound. I was then an impecunious high-schooler, and while I always strived to buy the best equipment I could afford, I unfortunately was never able to own any of these iconic products. However, when I saw McIntosh's new MC303 three-channel power amp glowing brightly on silent display at the 2008 CEDIA Expo, a light bulb went on over my head: I'd been assessing a series of three-channel and monoblock amps, and the MC303 would fit nicely into my New York City system.

The first time I ever heard stereo sound, it was in a shop on Manhattan's Radio Row. In addition to the Studer staggered-head tape deck, the system consisted of pairs of McIntosh C8 preamps, MC60 power amps, and monster Bozak B-310 speakers. I can still picture the room and almost hear the sound. I was then an impecunious high-schooler, and while I always strived to buy the best equipment I could afford, I unfortunately was never able to own any of these iconic products. However, when I saw McIntosh's new MC303 three-channel power amp glowing brightly on silent display at the 2008 CEDIA Expo, a light bulb went on over my head: I'd been assessing a series of three-channel and monoblock amps, and the MC303 would fit nicely into my New York City system.

In 1989, Cambridge Audio, then run by Stan Curtis—who is still active in hi-fi— introduced their DAC 1. At about the same time, within a few weeks of each other, Arcam introduced their Delta Black Box and Musical Fidelity their Digilog. I forget who was first among the three. Arcam, I think. But the DAC race was on, led by the British. (There was even a DAC called the Dacula.) US companies got into the DAC race, too—at higher prices, of course.

In 1989, Cambridge Audio, then run by Stan Curtis—who is still active in hi-fi— introduced their DAC 1. At about the same time, within a few weeks of each other, Arcam introduced their Delta Black Box and Musical Fidelity their Digilog. I forget who was first among the three. Arcam, I think. But the DAC race was on, led by the British. (There was even a DAC called the Dacula.) US companies got into the DAC race, too—at higher prices, of course.