National pride is the damnedest thing. When I was growing up in the Netherlands, schoolchildren were taught that the inventor of the printing press was a Dutchman named Laurens Janszoon Coster. Germany's Johannes Gutenberg was waved away as an also-ran, if he was mentioned at all.

I wrote about the music industry's impressive recovery in the February 2022 AWSI. Robust LP sales were a headline item of that report, but they're a sideshow: Paid-subscription streaming is what is bringing the industry back.

When I wrote that, 2021 wasn't quite over, so year-end financials weren't available. They're available now.

Eric Nathan: Missing Words, Carolyn Sampson: Trennung: Songs of Separation, Brahms: Piano Trios Nos.2 & 3, Brahms: String Sextets, Mahler: Symphony No.4 and Hans Abrahamsen: Schnee.

Bill Evans: Inner Spirit and Sebastian Noelle: System One.

Son House: Forever On My Mind, Superchunk: Wild Loneliness and Yard Act: The Overload.

The idea of a loudspeaker system whose frequency response could be tailored to suit room acoustics and/or personal taste is one that has always appealed to the high-fidelity perfectionist. Ideally, such a loudspeaker would allow you to raise or lower the level of any part of the audio spectrum to correct for, say, a sharp 370Hz room resonance or a mild absorptive condition that weakens, say, the 800Hz–3kHz range. Obviously, though, this kind of flexibility would require an infinite number of bandpass networks, each with its own volume control—which is an obvious impracticality.