Over time I've successfully used a variety of tuning devices to refine the acoustics in Kathleen's and my listening room. But I've always suspected that <A HREF="http://www.stereophile.com/accessoryreviews/215">Acoustic Science's Tube Traps</A> might be a good way to finish it off. I've occasionally asked visitors to stand in one spot or another behind the speakers as I listened for tergiversation (<I>ie</I>, "to change one's tune"; Hoo-hah!). I found several locations where a nice, dense audiophile body made an improvement to the sound.

The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or&mdash;as it's more often and awkwardly called these days when the phono stage is omitted&mdash;the "line controller."

The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or&mdash;as it's more often and awkwardly called these days when the phono stage is omitted&mdash;the "line controller."

The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or&mdash;as it's more often and awkwardly called these days when the phono stage is omitted&mdash;the "line controller."

The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or&mdash;as it's more often and awkwardly called these days when the phono stage is omitted&mdash;the "line controller."

The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or&mdash;as it's more often and awkwardly called these days when the phono stage is omitted&mdash;the "line controller."

Jitter is not what digital sound quality induces in the listener; rather it is the instability in the clock signal that controls exactly <I>when</I> the analog waveform is sampled in the original A/D conversion, or when the digital word input into a DAC results in an analog voltage being produced at the chip's output. "So what?" is the response of digital advocates, "As long as a digital one is recognized as a one and a digital zero as a zero, then how can there be any difference in sound?" goes their argument, normally culminating in a fervently expressed "Bits is bits!"

Jitter is not what digital sound quality induces in the listener; rather it is the instability in the clock signal that controls exactly <I>when</I> the analog waveform is sampled in the original A/D conversion, or when the digital word input into a DAC results in an analog voltage being produced at the chip's output. "So what?" is the response of digital advocates, "As long as a digital one is recognized as a one and a digital zero as a zero, then how can there be any difference in sound?" goes their argument, normally culminating in a fervently expressed "Bits is bits!"

In late February, many California music fans discovered in their mail a one-page form letter from the state's attorney general, Bill Lockyer, announcing that he was "pleased to enclose payment for your claim in the settlement of the Compact Disc Minimum Advertised Price Antitrust Litigation." Attached to the bottom of the form letter was a tear-off check made out to the aggrieved music fan from "CD MAP Antitrust Litigation" in Faribault, MN.