Fourteen years ago this week, when I was 16 years old and spending all my spare time memorizing the lyrics to Ini Kamoze's "Here Comes the Hotstepper," John Atkinson was busy penning <a href="http://www.stereophile.com/asweseeit/294awsi/">this "As We See It" essay</a>.

<a href="http://blog.stereophile.com/stephenmejias/120407bayridge/">Finally, at JA's</a>, you'll have a cup of coffee and sit down to listen to some music before packing up the big and beautiful 200-lb speakers. The freight service is scheduled to arrive in just a couple of hours, so you don't have much time. The speakers had sounded so good that JA just couldn't bear to pack them up any sooner. In fact, they may have been the very best speakers JA's ever heard in his room.

Satellites, it turns out, are <A HREF="http://www.skyandtelescope.com/news/12313846.html">more diverse (<I>read:</I> weirder)</A> than the planets they orbit.

<I>Last October, in Vol.11 No.10, </I>Stereophile<I>'s Founder and Chief Tester <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A> stated, in his acerbic editorial "<A HREF="http://www.stereophile.com/asweseeit/111">The Acoustical Standard</A>," that, in his opinion, only recordings for which there is an original acoustic reference&mdash;</I>ie<I>, typically those of classical music&mdash;should be used to evaluate hi-fi components. And that in the absence of a consensus over such a policy, high-end component manufacturers were losing their way over what does and does not represent good sound quality.</I>

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