Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.

Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.

Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.

Sony Classical's head of engineering, David Smith, is a man whose opinions on sound quality I have come to respect. So when David e-mailed me a year or so back, enthusing over a new DAC he'd heard, I paid attention. When Lavry Engineering contacted me about reviewing their DA2002, I didn't need much persuading.

"You certainly love weird music!" my wife yelled from the kitchen. This just reconfirmed my suspicion that reviewing subwoofers is a lonely job that brings no respect. What's so weird about the droning of Tibetan temple horns accompanied by the chants of Tibetan Gyuto monks, all framed by a powerful synthesizer in Philip Glass's soundtrack to <I>Kundun</I> (CD, Nonesuch 79460-2)? What's so strange about the karate-like cries of the drummers in the Kromata Percussion ensemble as they smash away at their timpani and gongs in Yoshihisa Taira's <I>Hierophonie V</I> (CD, BIS CD-232)? What's so odd about the shuddering majesty of 25Hz notes played by Harry Partch's one-of-a-kind Eroica Marimba, heard on his <I>Delusion of the Fury</I> (LP, Columbia M2 30576)? Why would any spouse object to the primitive, driving synthesizer growls and screams from Morton Subotnick's <I>The Wild Bull</I> (LP, Nonesuch H-71208)?

"You certainly love weird music!" my wife yelled from the kitchen. This just reconfirmed my suspicion that reviewing subwoofers is a lonely job that brings no respect. What's so weird about the droning of Tibetan temple horns accompanied by the chants of Tibetan Gyuto monks, all framed by a powerful synthesizer in Philip Glass's soundtrack to <I>Kundun</I> (CD, Nonesuch 79460-2)? What's so strange about the karate-like cries of the drummers in the Kromata Percussion ensemble as they smash away at their timpani and gongs in Yoshihisa Taira's <I>Hierophonie V</I> (CD, BIS CD-232)? What's so odd about the shuddering majesty of 25Hz notes played by Harry Partch's one-of-a-kind Eroica Marimba, heard on his <I>Delusion of the Fury</I> (LP, Columbia M2 30576)? Why would any spouse object to the primitive, driving synthesizer growls and screams from Morton Subotnick's <I>The Wild Bull</I> (LP, Nonesuch H-71208)?

"You certainly love weird music!" my wife yelled from the kitchen. This just reconfirmed my suspicion that reviewing subwoofers is a lonely job that brings no respect. What's so weird about the droning of Tibetan temple horns accompanied by the chants of Tibetan Gyuto monks, all framed by a powerful synthesizer in Philip Glass's soundtrack to <I>Kundun</I> (CD, Nonesuch 79460-2)? What's so strange about the karate-like cries of the drummers in the Kromata Percussion ensemble as they smash away at their timpani and gongs in Yoshihisa Taira's <I>Hierophonie V</I> (CD, BIS CD-232)? What's so odd about the shuddering majesty of 25Hz notes played by Harry Partch's one-of-a-kind Eroica Marimba, heard on his <I>Delusion of the Fury</I> (LP, Columbia M2 30576)? Why would any spouse object to the primitive, driving synthesizer growls and screams from Morton Subotnick's <I>The Wild Bull</I> (LP, Nonesuch H-71208)?

"You certainly love weird music!" my wife yelled from the kitchen. This just reconfirmed my suspicion that reviewing subwoofers is a lonely job that brings no respect. What's so weird about the droning of Tibetan temple horns accompanied by the chants of Tibetan Gyuto monks, all framed by a powerful synthesizer in Philip Glass's soundtrack to <I>Kundun</I> (CD, Nonesuch 79460-2)? What's so strange about the karate-like cries of the drummers in the Kromata Percussion ensemble as they smash away at their timpani and gongs in Yoshihisa Taira's <I>Hierophonie V</I> (CD, BIS CD-232)? What's so odd about the shuddering majesty of 25Hz notes played by Harry Partch's one-of-a-kind Eroica Marimba, heard on his <I>Delusion of the Fury</I> (LP, Columbia M2 30576)? Why would any spouse object to the primitive, driving synthesizer growls and screams from Morton Subotnick's <I>The Wild Bull</I> (LP, Nonesuch H-71208)?

April Music's high-end audio products should soon be available to music lovers throughout the US, thanks to a distribution agreement with Bertrand Audio Imports announced August 11.

We've been hearing about it for years, but high-definition radio may finally be on its way. Feeling competitive pressure from satellite operations XM Radio and Sirius Satellite Radio, US broadcasters are making what appear to be sincere efforts to upgrade their service by moving from analog to digital.