Late in 2006, I was watching John Atkinson set up a pair of DPA cardioid microphones in front of the stage of New York City's Otto's Shrunken Head to record a performance of my jazz quartet, <A HREF="http://www.myspace.com/attentionscreen">Attention Screen</A> (footnote 1). Before the first set, Wes Phillips approached me. "Bob, I found a piece of equipment you <I>must</I> review&mdash;the Cayin A-50T integrated amp. It's only 1300 bucks and you'll love it!"

Late in 2006, I was watching John Atkinson set up a pair of DPA cardioid microphones in front of the stage of New York City's Otto's Shrunken Head to record a performance of my jazz quartet, <A HREF="http://www.myspace.com/attentionscreen">Attention Screen</A> (footnote 1). Before the first set, Wes Phillips approached me. "Bob, I found a piece of equipment you <I>must</I> review&mdash;the Cayin A-50T integrated amp. It's only 1300 bucks and you'll love it!"

Late in 2006, I was watching John Atkinson set up a pair of DPA cardioid microphones in front of the stage of New York City's Otto's Shrunken Head to record a performance of my jazz quartet, <A HREF="http://www.myspace.com/attentionscreen">Attention Screen</A> (footnote 1). Before the first set, Wes Phillips approached me. "Bob, I found a piece of equipment you <I>must</I> review&mdash;the Cayin A-50T integrated amp. It's only 1300 bucks and you'll love it!"

Although the brain pall caused by four solid days and nights of music has yet to lift entirely, I will attempt to begin to dissect South by Southwest 2008.

The sun is almost all gone now and the streetlamps along Newark Avenue are just beginning to take on a sort of greenish glow. The sky has become a shadowy mess. We're trying to postpone something. Who would want the day to end like this?