Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.

Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.

Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.

Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.

Record playback could have been designed to go from the inside out instead of the other way around. With most pieces of music ending louder than they started, doesn't it make more sense to end the side at the widest circumference, longest wavelength, least congested part of the groove spiral? Compact discs read from the center hole out, and they don't even have to.

High-end audio is not a rational construct. It is a sensory experience that leads to emotional engagement. In slightly different words: High-end audio is not about a <I>concept</I>, but about the <I>experience</I> of having our emotions engaged. The difference between reading about a high-end audio system and hearing great recordings played on one is almost as big as the difference between reading a love poem and falling in love.

<B>MAHLER: Symphony 8</B><BR>
Barbara Kubiak, Izabela Klosinska, Marta Boberska, sopranos; Jadwiga Rapp&#233;, Ewa Marciniec, altos; Timothy Bentch, tenor; Wojtek Drabowicz, baritone; Piotr Nowacki, bass; Warsaw National Philharmonic Choir & Orchestra, Polish Radio Choir in Krakow, Cardinal Stefan Wyszynski University Choir, Warsaw Boys Choir; Antoni Wit, conductor<BR>
Naxos 8.550533-34 (2 CDs). 2006. Andrzej Sasin, Aleksandra Nagorko, prods. DDD. TT: 80:51<BR>
Performance *****<BR>
Sonics *****

<B>MAHLER: Symphony 8</B><BR>
Barbara Kubiak, Izabela Klosinska, Marta Boberska, sopranos; Jadwiga Rapp&#233;, Ewa Marciniec, altos; Timothy Bentch, tenor; Wojtek Drabowicz, baritone; Piotr Nowacki, bass; Warsaw National Philharmonic Choir & Orchestra, Polish Radio Choir in Krakow, Cardinal Stefan Wyszynski University Choir, Warsaw Boys Choir; Antoni Wit, conductor<BR>
Naxos 8.550533-34 (2 CDs). 2006. Andrzej Sasin, Aleksandra Nagorko, prods. DDD. TT: 80:51<BR>
Performance *****<BR>
Sonics *****