Non-audiophile friends and relatives raised their eyebrows when they saw the Class&#233; Omega Omicron monoblocks. Not only is the Omicron more expensive than any other amp I've used; at 108 lbs, it's heavier than some of the <I>speakers</I> I've used. The Omicron is Class&#233's next-to-top-of-the-line amp in its Omega series, but is still definitely a "statement" product. Brian Damkroger reviewed the Omicron's big brother, the Omega Mono, in the July 2003 <I>Stereophile</I>. I refer you to <A HREF="http://www.stereophile.com/amplificationreviews/878">that review</A> for a more detailed description of the Omicron's basic circuitry.

Non-audiophile friends and relatives raised their eyebrows when they saw the Class&#233; Omega Omicron monoblocks. Not only is the Omicron more expensive than any other amp I've used; at 108 lbs, it's heavier than some of the <I>speakers</I> I've used. The Omicron is Class&#233's next-to-top-of-the-line amp in its Omega series, but is still definitely a "statement" product. Brian Damkroger reviewed the Omicron's big brother, the Omega Mono, in the July 2003 <I>Stereophile</I>. I refer you to <A HREF="http://www.stereophile.com/amplificationreviews/878">that review</A> for a more detailed description of the Omicron's basic circuitry.

Sometimes you have to make peace with a loudspeaker. You have to accept it on its own terms rather than ask it to bend to your sonic wishes, or to be something it's not. This is especially true when you're auditioning a seemingly endless succession of them, as I have this year. Like beauty-pageant contestants parading across the stage, all different-looking yet all enticing in one way or another, each speaker I've listened to of late has sounded different from the rest, and each has had a unique combination of strengths and weaknesses&mdash;yet each has been sufficiently "in the pocket" to paint a credible musical picture. Nonetheless, some required more bending on my part than did others, in order for me to <I>believe</I> the musical portraits they were attempting to create.

Sometimes you have to make peace with a loudspeaker. You have to accept it on its own terms rather than ask it to bend to your sonic wishes, or to be something it's not. This is especially true when you're auditioning a seemingly endless succession of them, as I have this year. Like beauty-pageant contestants parading across the stage, all different-looking yet all enticing in one way or another, each speaker I've listened to of late has sounded different from the rest, and each has had a unique combination of strengths and weaknesses&mdash;yet each has been sufficiently "in the pocket" to paint a credible musical picture. Nonetheless, some required more bending on my part than did others, in order for me to <I>believe</I> the musical portraits they were attempting to create.

Sometimes you have to make peace with a loudspeaker. You have to accept it on its own terms rather than ask it to bend to your sonic wishes, or to be something it's not. This is especially true when you're auditioning a seemingly endless succession of them, as I have this year. Like beauty-pageant contestants parading across the stage, all different-looking yet all enticing in one way or another, each speaker I've listened to of late has sounded different from the rest, and each has had a unique combination of strengths and weaknesses&mdash;yet each has been sufficiently "in the pocket" to paint a credible musical picture. Nonetheless, some required more bending on my part than did others, in order for me to <I>believe</I> the musical portraits they were attempting to create.

Sometimes you have to make peace with a loudspeaker. You have to accept it on its own terms rather than ask it to bend to your sonic wishes, or to be something it's not. This is especially true when you're auditioning a seemingly endless succession of them, as I have this year. Like beauty-pageant contestants parading across the stage, all different-looking yet all enticing in one way or another, each speaker I've listened to of late has sounded different from the rest, and each has had a unique combination of strengths and weaknesses&mdash;yet each has been sufficiently "in the pocket" to paint a credible musical picture. Nonetheless, some required more bending on my part than did others, in order for me to <I>believe</I> the musical portraits they were attempting to create.

Sometimes you have to make peace with a loudspeaker. You have to accept it on its own terms rather than ask it to bend to your sonic wishes, or to be something it's not. This is especially true when you're auditioning a seemingly endless succession of them, as I have this year. Like beauty-pageant contestants parading across the stage, all different-looking yet all enticing in one way or another, each speaker I've listened to of late has sounded different from the rest, and each has had a unique combination of strengths and weaknesses&mdash;yet each has been sufficiently "in the pocket" to paint a credible musical picture. Nonetheless, some required more bending on my part than did others, in order for me to <I>believe</I> the musical portraits they were attempting to create.

John Atkinson and Cantus are at it again. Last June, John and <A HREF="http://www.cantusonline.org">Cantus</A&gt;, the Minnesota-based male vocal ensemble, traveled to Goshen College in Goshen, Indiana, to record an adventurous two-volume Christmas CD. <I>Comfort and Joy: Volume One</I> is being released this week.

<B>NRBQ: <I>Dummy</I></B><BR>
Edisun ED-17 (CD). 2004. NRBQ, prods.; Billy Shaw, prod., eng.; Alan Stockwell, Joey Interlande, Chris Anderson, engs. AAD? TT: 37:11<BR>
Performance <B>****&#189;</B><BR>
Sonics <B>****</B>