<B>Hasil Adkins: <I>Out to Hunch</I></B><BR>
Norton Records (no catalog # whatso-a-ever) LP, no CD. No producer, no engineer, no studio, no stereo, no mikes that weren't carbon police dispatcher models, no other people at all in fact&mdash;just Hasil Adkins, vocals and guitars and one-man drums and some weird rhythmic screeching that may or may not be LP surface noise. TT: infinite, as I can't stop hearing it in my head hours after I raised the needle off it.<BR>To order, send $10 to <A HREF="http://www.nortonrecords.com">Norton Records</A>, Box 646, Cooper Station, New York, NY 10003. If you don't, you shall burn in hellfire eternal. <A HREF="http://members.tripod.com/~Hasil_Adkins/">Hasil Adkins Fan Club</A>; <A HREF="http://www.grandrapidsrocks.com/haze">Hasil Adkins Headquarters</A>.

<B>U2: <I>How To Dismantle An Atomic Bomb</I></B><BR>
Interscope B0003613-02 (CD). 2004. Steve Lillywhite, prod.; Carl Glanville, eng.; Brian Eno, Daniel Lanois, Chris Heaney, others, asst. engs. AAD? TT: 49:08<BR>
Performance <B>****&#189;</B><BR>
Sonics <B>****</B>

Within the confines of the cozy analog audiophile kingdom, things couldn't be better: Turntables, cartridges and phono preamps can be found in abundance, while mounds of new and used vinyl can be scored by the truckload.

As 2004 wound down, the Los Angeles sheriff's department successfully conducted five simultaneous raids on illegal CD replication plants in southern California on December 15. Dubbed "Operation Final Release," the joint operation between the Southern California High Tech Task Force and the LA sheriff's department put 65 officers into action, closing down five optical disc replication facilities in LA and Orange counties suspected of churning out millions of pirated CDs, which were sold throughout the United States.

If you're an audiophile, the words "hearing loss" are bound to strike terror into your heart. Of course, many of us aren't preternaturally acute&mdash;and all of us lose some high-frequency sensitivity as we age&mdash;but there's no excuse for not taking care of what you've got. When it comes to hearing, more is <I>always</I> better.

Some say it dates back 50 years, to when the late David Hafler introduced a tube amplifier with a "better-sounding" ultralinear output stage. Others claim it goes back to the introduction of electrical recording and playback in 1927, when <I>Gramophone</I> magazine's founder and editor, author Sir Compton McKenzie, thundered that electrical reproduction was a step <I>backward</I> in sound quality. But whenever it started, the "Great Debate" between "subjectivists," who hear differences between audio components, and "objectivists," who tend to ascribe such differences to the listeners' over-heated imaginations, rages just as strongly in the 21st century as it did in the 20th.

Medford, Long Island&ndash;based manufacturer Shahinian Acoustics has announced a recapitalization and a manufacturing-facilities expansion to meet demand for its quasi-omnidirectional loudspeakers. In a related development, Vasken Shahinian has succeeded his father as president and managing director.

<I><B>Editor's Note: </B>In 1954, a New York writer and teacher reinvented the world of audio with the modest-looking Acoustic Research AR-1 loudspeaker. A small fraction of the size of the behemoths that were then </I>de rigeur<I> for the reproduction of bass frequencies, Edgar Villchur's loudspeaker went as low with less distortion. Perhaps more importantly, the AR-1 pioneered both the science of speaker design and the idea that a low-frequency drive-unit could not be successfully engineered without the properties of the enclosure being taken into account.</I>

<I><B>Editor's Note: </B>In 1954, a New York writer and teacher reinvented the world of audio with the modest-looking Acoustic Research AR-1 loudspeaker. A small fraction of the size of the behemoths that were then </I>de rigeur<I> for the reproduction of bass frequencies, Edgar Villchur's loudspeaker went as low with less distortion. Perhaps more importantly, the AR-1 pioneered both the science of speaker design and the idea that a low-frequency drive-unit could not be successfully engineered without the properties of the enclosure being taken into account.</I>