Pass Laboratories' X amplifier series represents the efforts of designer Nelson Pass to prove that simple linear amplifier topologies can be scaled to provide high-quality audio performance at <I>very</I> high power levels. The handsome X1000 monoblock under scrutiny here, the largest and most powerful amp in the Pass stable, makes 1000W into 8 ohms and a mighty 2000W into 4 ohms. The amplifier has no global negative feedback, and only two gain stages: the front-end provides all the voltage gain and feeds a high-current follower stage.

Pass Laboratories' X amplifier series represents the efforts of designer Nelson Pass to prove that simple linear amplifier topologies can be scaled to provide high-quality audio performance at <I>very</I> high power levels. The handsome X1000 monoblock under scrutiny here, the largest and most powerful amp in the Pass stable, makes 1000W into 8 ohms and a mighty 2000W into 4 ohms. The amplifier has no global negative feedback, and only two gain stages: the front-end provides all the voltage gain and feeds a high-current follower stage.

Pass Laboratories' X amplifier series represents the efforts of designer Nelson Pass to prove that simple linear amplifier topologies can be scaled to provide high-quality audio performance at <I>very</I> high power levels. The handsome X1000 monoblock under scrutiny here, the largest and most powerful amp in the Pass stable, makes 1000W into 8 ohms and a mighty 2000W into 4 ohms. The amplifier has no global negative feedback, and only two gain stages: the front-end provides all the voltage gain and feeds a high-current follower stage.

Clear Channel Communications, Inc. has settled the first of what could be a long string of lawsuits over its purportedly monopolistic marketing tactics.

RIAA lawsuits continue: Each month the recording industry launches a few hundred more lawsuits against suspected file-swappers, with such tedious regularity that we could simply re-run the previous month's news with a new figure inserted. This time around, the Recording Industry Association of America announced May 24 that it had filed suit against 493 more people believed to have illegally shared music over the Internet. Known only by their screen names and IP addresses, the unnamed defendants are subscribers with Internet service providers in Alabama, Arizona, California, Colorado, Georgia, Iowa, Illinois, Indiana, Kansas, Kentucky, New Jersey, New York, Minnesota, Missouri, Pennsylvania, South Dakota, and Texas. Unlike recent suits, none of the current crop involves college students or university networks. To date approximately 3000 people have been sued by the music industry; 486 have settled, paying damages that averaged $3000 each.

Most manufacturers who advertise in <I>Stereophile</I> hype an exquisite blend of old world craftsmanship and high technology. The gambit is particularly common in the business of selling loudspeakers, where ad copy pushes the sonic advantages of the latest ultra-stiff, indestructible, and nearly weightless cone materials such as Kevlar, carbon-fiber, anodized aluminum, or platinum-plated titanium.

"It costs as much as a car&mdash;and not a used jalopy, either," remarks Michael Fremer. "That's what goes through your head as you contemplate this magnificent $20,190 piece of audio jewelry." The jewelry in question is the <A HREF="http://www.stereophile.com/amplificationreviews/1298jadis">Jadis RC JP80 MC Mk.II preamplifier</A>, which MF compliments for "breathtaking" workmanship and parts quality. He also listens to the thing and reveals what some might consider the most important part: how it sounds.

There are several easy ways to start arguments among music fans: ask for a list of the most significant albums of all time, or who the greatest songwriters are, or the best bands, or ask which albums sported the all-time greatest covers.

At the February 1991 Audio Engineering Society Convention in Paris, Audio Precision's Dr. Richard Cabot (see <A HREF="http://www.stereophile.com/interviews/850">my interview</A> in January 1991, Vol.14 No.1) proposed a new technique for measuring noise modulation in D/A converters (footnote 1). The method, based on psychoacoustic principles, attempts to predict the audible performance of D/A converters. Now that <I>Stereophile</I> has added digital-domain signal generation and analysis to our Audio Precision System One, we can employ Dr. Cabot's technique and see if there are any correlations with subjective performance.