When audio designer Ken Shindo was a little boy, his father kept an enormous collection of 78rpm records in their home in Tokyo. During the final days of World War II, the Japanese authorities did their best to evacuate the city, but the elder Shindo was steadfast: He refused to leave, for fear that the records would be gone when he returned.

When audio designer Ken Shindo was a little boy, his father kept an enormous collection of 78rpm records in their home in Tokyo. During the final days of World War II, the Japanese authorities did their best to evacuate the city, but the elder Shindo was steadfast: He refused to leave, for fear that the records would be gone when he returned.

I've been reading and sometimes participating in a number of Internet discussions that begin with something like "Is SACD (and/or DVD-Audio) Dead?" Regardless of your one-word answer, it seems that the issue is still quite lively. I won't address the question here (you know where I stand), but it almost doesn't matter. Many high-resolution multichannel recordings are still being made. It's just that they may be distributed in different ways.

I've been reading and sometimes participating in a number of Internet discussions that begin with something like "Is SACD (and/or DVD-Audio) Dead?" Regardless of your one-word answer, it seems that the issue is still quite lively. I won't address the question here (you know where I stand), but it almost doesn't matter. Many high-resolution multichannel recordings are still being made. It's just that they may be distributed in different ways.

I've been reading and sometimes participating in a number of Internet discussions that begin with something like "Is SACD (and/or DVD-Audio) Dead?" Regardless of your one-word answer, it seems that the issue is still quite lively. I won't address the question here (you know where I stand), but it almost doesn't matter. Many high-resolution multichannel recordings are still being made. It's just that they may be distributed in different ways.

Conrad-Johnson launched the all-tube Premier 7 in 1988 as an all-out sonic assault on the state of the preamplifier art. A great deal has happened since then. For starters, C-J has gotten a great deal of feedback from customers, dealers, and reviewers. None other than <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A> (<I>Stereophile</I>, November 1988, Vol.11 No.11) concluded that: "It appears that nothing which could possibly have improved its sound had been omitted....It is, in fact, about as close as any tubed preamp has come to being perfectly neutral in sound&mdash;in nearly all respects." In the now-defunct <I>Sounds Like...</I> (issue 3), Sam Burstein concluded that "It is, with certain reservations, absolutely delightful to one's musical senses." And, speaking of absolutes, even Harry Pearson gave the Premier 7 a rave in the first round of his preamplifier survey (<I>TAS</I>, issue 58). As icing on the cake, John Atkinson (<I>Stereophile</I>, Vol.12 No.8) concluded that the 7 had "the requisite degree of sonic magic to make it a Class A recommended preamplifier."

Conrad-Johnson launched the all-tube Premier 7 in 1988 as an all-out sonic assault on the state of the preamplifier art. A great deal has happened since then. For starters, C-J has gotten a great deal of feedback from customers, dealers, and reviewers. None other than <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A> (<I>Stereophile</I>, November 1988, Vol.11 No.11) concluded that: "It appears that nothing which could possibly have improved its sound had been omitted....It is, in fact, about as close as any tubed preamp has come to being perfectly neutral in sound&mdash;in nearly all respects." In the now-defunct <I>Sounds Like...</I> (issue 3), Sam Burstein concluded that "It is, with certain reservations, absolutely delightful to one's musical senses." And, speaking of absolutes, even Harry Pearson gave the Premier 7 a rave in the first round of his preamplifier survey (<I>TAS</I>, issue 58). As icing on the cake, John Atkinson (<I>Stereophile</I>, Vol.12 No.8) concluded that the 7 had "the requisite degree of sonic magic to make it a Class A recommended preamplifier."

Conrad-Johnson launched the all-tube Premier 7 in 1988 as an all-out sonic assault on the state of the preamplifier art. A great deal has happened since then. For starters, C-J has gotten a great deal of feedback from customers, dealers, and reviewers. None other than <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A> (<I>Stereophile</I>, November 1988, Vol.11 No.11) concluded that: "It appears that nothing which could possibly have improved its sound had been omitted....It is, in fact, about as close as any tubed preamp has come to being perfectly neutral in sound&mdash;in nearly all respects." In the now-defunct <I>Sounds Like...</I> (issue 3), Sam Burstein concluded that "It is, with certain reservations, absolutely delightful to one's musical senses." And, speaking of absolutes, even Harry Pearson gave the Premier 7 a rave in the first round of his preamplifier survey (<I>TAS</I>, issue 58). As icing on the cake, John Atkinson (<I>Stereophile</I>, Vol.12 No.8) concluded that the 7 had "the requisite degree of sonic magic to make it a Class A recommended preamplifier."

Conrad-Johnson launched the all-tube Premier 7 in 1988 as an all-out sonic assault on the state of the preamplifier art. A great deal has happened since then. For starters, C-J has gotten a great deal of feedback from customers, dealers, and reviewers. None other than <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A> (<I>Stereophile</I>, November 1988, Vol.11 No.11) concluded that: "It appears that nothing which could possibly have improved its sound had been omitted....It is, in fact, about as close as any tubed preamp has come to being perfectly neutral in sound&mdash;in nearly all respects." In the now-defunct <I>Sounds Like...</I> (issue 3), Sam Burstein concluded that "It is, with certain reservations, absolutely delightful to one's musical senses." And, speaking of absolutes, even Harry Pearson gave the Premier 7 a rave in the first round of his preamplifier survey (<I>TAS</I>, issue 58). As icing on the cake, John Atkinson (<I>Stereophile</I>, Vol.12 No.8) concluded that the 7 had "the requisite degree of sonic magic to make it a Class A recommended preamplifier."