The story of New Acoustic Dimensions, aka NAD, begins in the late 1970s. The company was founded as a dealer distribution collective to design and market reasonably priced serious high-end gear to cost-constrained audiophiles. By eliminating needless features and focusing manufacturing in low-cost production facilities, NAD has successfully delivered audiophile-quality gear for 20 years at prices little more expensive than mass-market department-store schlock.

The story of New Acoustic Dimensions, aka NAD, begins in the late 1970s. The company was founded as a dealer distribution collective to design and market reasonably priced serious high-end gear to cost-constrained audiophiles. By eliminating needless features and focusing manufacturing in low-cost production facilities, NAD has successfully delivered audiophile-quality gear for 20 years at prices little more expensive than mass-market department-store schlock.

The story of New Acoustic Dimensions, aka NAD, begins in the late 1970s. The company was founded as a dealer distribution collective to design and market reasonably priced serious high-end gear to cost-constrained audiophiles. By eliminating needless features and focusing manufacturing in low-cost production facilities, NAD has successfully delivered audiophile-quality gear for 20 years at prices little more expensive than mass-market department-store schlock.

The story of New Acoustic Dimensions, aka NAD, begins in the late 1970s. The company was founded as a dealer distribution collective to design and market reasonably priced serious high-end gear to cost-constrained audiophiles. By eliminating needless features and focusing manufacturing in low-cost production facilities, NAD has successfully delivered audiophile-quality gear for 20 years at prices little more expensive than mass-market department-store schlock.

Looked at from one viewpoint, DVD-Audio and SACD appear to be exercises in sheer profligacy. In the case of DVD-A, why provide a <A HREF="http://www.stereophile.com/features/282">maximum bandwidth</A> almost five times what is conventionally taken to be the audible frequency range, and couple it to a dynamic-range capability far in excess of that achievable by the microphones used to record the sound? In the case of SACD, why provide a potential bandwidth in excess of 1.4MHz, only to fill more than 95% of it with <A HREF="http://www.stereophile.com/features/374">quantization noise</A>?

Looked at from one viewpoint, DVD-Audio and SACD appear to be exercises in sheer profligacy. In the case of DVD-A, why provide a <A HREF="http://www.stereophile.com/features/282">maximum bandwidth</A> almost five times what is conventionally taken to be the audible frequency range, and couple it to a dynamic-range capability far in excess of that achievable by the microphones used to record the sound? In the case of SACD, why provide a potential bandwidth in excess of 1.4MHz, only to fill more than 95% of it with <A HREF="http://www.stereophile.com/features/374">quantization noise</A>?

Looked at from one viewpoint, DVD-Audio and SACD appear to be exercises in sheer profligacy. In the case of DVD-A, why provide a <A HREF="http://www.stereophile.com/features/282">maximum bandwidth</A> almost five times what is conventionally taken to be the audible frequency range, and couple it to a dynamic-range capability far in excess of that achievable by the microphones used to record the sound? In the case of SACD, why provide a potential bandwidth in excess of 1.4MHz, only to fill more than 95% of it with <A HREF="http://www.stereophile.com/features/374">quantization noise</A>?

Looked at from one viewpoint, DVD-Audio and SACD appear to be exercises in sheer profligacy. In the case of DVD-A, why provide a <A HREF="http://www.stereophile.com/features/282">maximum bandwidth</A> almost five times what is conventionally taken to be the audible frequency range, and couple it to a dynamic-range capability far in excess of that achievable by the microphones used to record the sound? In the case of SACD, why provide a potential bandwidth in excess of 1.4MHz, only to fill more than 95% of it with <A HREF="http://www.stereophile.com/features/374">quantization noise</A>?

We were startled to receive an email announcement recently informing us that Scot Markwell, long-time set-up and equipment maven for <I>The Abso!ute Sound</I>'s erstwhile editor Harry Pearson, had joined the staff at <A HREF="http://www.themusic.com">www.themusic.com</A&gt; to manage its Gear Shop division.

The Home Entertainment 2004 Show (HE2004) is coming to NYC May 20&ndash;23, 2004 at the Hilton New York Hotel & Towers. HE2004 is open to the public&mdash;consumers will not only have the opportunity to see, hear, and demo the finest high-performance products consumer electronics has to offer, they can also attend a dozen free educational seminars on a variety of topics and enjoy live music daily from jazz and blues artists during relaxing breaks for lunch. The educational seminars and music luncheons will be offered all three days of the Show. Seminars will be moderated by some of the consumer electronics industry's most respected editors, manufacturers, and custom-installation professionals.