Audiophiles are faced with a sonic and musical quandary: Are we looking for an absolutely faithful reproduction of a recorded work, regardless of its inherent defects, or are we willing to tune our component choices and room to euphonize everything across the board—at the expense of over-glossing the better titles in our collection?

If you're a retailer harboring visions of including Klipsch Audio Technologies' products among the offerings in a deep-discount website, forget it. Likewise, reconsider if you've been tempted to buy Klipsch products at unbelievable prices from such a site. And if you're a Klipsch dealer with some overstock, don't take the bait if someone with a website offers you cash for a bulk deal, don't even think about it—because Klipsch is one company that takes the gray market seriously.

One reason I have never felt the need to invest in a high-end home-theater system is that it is all too easy for me to go 'round to Tom Norton's house. As well as contributing the amplifier measurements and the all-too-rare component review for <I>Stereophile</I>, Tom is technical editor of our companion book, <I>Stereophile Guide to Home Theater</I> (footnote 1). As you might expect, he has access to video equipment that the rest of us can only dream about.

<I>The Pennsylvania Gazette</I> documented an early connection between music and an American named Winey when, in 1759, it listed for sale as part of an estate "a middle sized organ, having eight stops." Interested parties were directed to one Jacob Winey, a Philadelphia merchant.

<I>The Pennsylvania Gazette</I> documented an early connection between music and an American named Winey when, in 1759, it listed for sale as part of an estate "a middle sized organ, having eight stops." Interested parties were directed to one Jacob Winey, a Philadelphia merchant.

Most of us have at least some taste for gear that <I>jumps out</I>&mdash;for audio components whose sonic and musical distinctions are easy to hear from the start. In audio, unlike in the art of music itself, there's nothing wrong with being obvious.

Most of us have at least some taste for gear that <I>jumps out</I>&mdash;for audio components whose sonic and musical distinctions are easy to hear from the start. In audio, unlike in the art of music itself, there's nothing wrong with being obvious.

Most of us have at least some taste for gear that <I>jumps out</I>&mdash;for audio components whose sonic and musical distinctions are easy to hear from the start. In audio, unlike in the art of music itself, there's nothing wrong with being obvious.

Most of us have at least some taste for gear that <I>jumps out</I>&mdash;for audio components whose sonic and musical distinctions are easy to hear from the start. In audio, unlike in the art of music itself, there's nothing wrong with being obvious.