I feel privileged to have followed the remarkable evolution of digital processors over the past four-and-a-half years. Since my first digital review—a survey of three modified CD players back in August 1989—I've been fascinated by the developments that have inexorably improved the quality of digitally reproduced music.

I feel privileged to have followed the remarkable evolution of digital processors over the past four-and-a-half years. Since my first digital review—a survey of three modified CD players back in August 1989—I've been fascinated by the developments that have inexorably improved the quality of digitally reproduced music.

I feel privileged to have followed the remarkable evolution of digital processors over the past four-and-a-half years. Since my first digital review—a survey of three modified CD players back in August 1989—I've been fascinated by the developments that have inexorably improved the quality of digitally reproduced music.

I feel privileged to have followed the remarkable evolution of digital processors over the past four-and-a-half years. Since my first digital review—a survey of three modified CD players back in August 1989—I've been fascinated by the developments that have inexorably improved the quality of digitally reproduced music.

I feel privileged to have followed the remarkable evolution of digital processors over the past four-and-a-half years. Since my first digital review—a survey of three modified CD players back in August 1989—I've been fascinated by the developments that have inexorably improved the quality of digitally reproduced music.

<I>A couple of months back (<A HREF="http://www.stereophile.com/asweseeit/393awsi">March 1993, p.7</A>), I wrote that as far as I was concerned, video was television dressed up in fancy dress, thus there was no place for coverage of the medium in </I>Stereophile<I>. As the magazine's founder, <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A>, has been a committed videophile for many years, I sat back and awaited a reaction from him. One was not long coming. I am running his response as this month's "As We See It" feature.&mdash;<B>John Atkinson</B></I>

<I>"When it comes to video, most audiophiles are insufferable snobs."</I>&mdash;J. Gordon Holt, 1984

"Some say it dates back to 1927, when <I>Gramophone</I> magazine's editor thundered that electrical reproduction was a step <I>backward</I> in sound quality," said the promotional copy for Home Entertainment 2005's opening-day event, "The Great Debate: Subjectivism on Trial." It continued: "But whenever it started, the Great Debate between 'subjectivists,' who hear differences among audio components, and 'objectivists,' who tend to ascribe such differences to the listeners' overheated imaginations, rages just as strongly in the 21st century as it did in the 20th." On April 29 at the Manhattan Hilton, <I>Stereophile</I> editor John Atkinson and one of the Internet's most vocal audio skeptics, Arnold B. Krueger, debated <I>mano a mano</I> where the line should be drawn between honest reporting and audio delusion.

As I walked through the corridors of HE2005, I kept hearing audiophiles asking one another, "Have you heard Mark Levinson's demo yet?" Yes, that was Mark Levinson, the man, and the Burwen Bobcat was possibly <I>the</I> most discussed item at the Show.