This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to <I>Stereophile</I>'s venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers&mdash;hardware or software, deadline-phobic or not&mdash;manage to find something worthwhile to say, year in and year out, about music&mdash;which, after all, is why we became audiophiles in the first place.

This year marks the tenth time I've written an introduction to Stereophile's venerable annual feature "Records To Die For." Looking back, I'm proud that readers always find it useful and entertaining. I'm also amazed, on some levels, that our writers—hardware or software, deadline-phobic or not—manage to find something worthwhile to say, year in and year out, about music—which, after all, is why we became audiophiles in the first place.

Don Bouchard, Ultralink/XLO Products' executive vice-president, succumbed February 7, 2008 from injuries he sustained in a motorcycle accident on December 15, 2007. Bouchard, riding with friends, had his front wheel drop into a hole in the pavement while traversing a railroad crossing and was thrown over his handlebars. The resulting injuries included a severe skull fracture, right-brain trauma, a broken clavicle, a broken rib, which punctured a lung, as well as internal trauma, multiple contusions, and bruising.