Grabbing a few big gulps can sometimes fill you up quickly, but it can also lead to a little indigestion. This proved to be the case for <A HREF="http://www.dm-holdings.com">D&M Holdings</A>, which filed results for the first half of its fiscal year, ending September 30, 2003, and its financial forecast for the fiscal year ending March 31, 2004 with the Tokyo Stock Exchange.

One of the keys to SACD's potential acceptance within the mass market is the hybrid disc format, ensuring that all of those Stones, Dylan, or Pink Floyd discs can be purchased by consumers with regular CD players. Although the DVD-Audio camp has <A HREF="http://www.stereophile.com/news/11515/index.html">played with the idea</A> of hybrid discs for its format, nothing has made it past the testing stages yet.

<B>MIKE GARSON: <I>The Oxnard Sessions, Volume Two</I></B><BR>
Mike Garson, piano; Eric Marienthal, alto & soprano sax; Brian Bromberg, bass; Ralph Humphry, Bill Mintz, drums<BR>
Reference Recordings RR-53CD (CD, LP to come). Keith Johnson, eng.; J. Tamblyn Henderson, prod. DDD. TT: 73:50

Lera Auerbach is an important new classical composer.

Lera Auerbach is an important new classical composer.

Autumn comes to the Cherry Valley Feed & Seed. The 50-lb sacks of sawgrass and lime give way to mulch and sand for local drives, and the swing sets and folding chairs and posthole diggers and bug zappers and flagpoles have been brought inside until next spring, which is scheduled for mid-June.

Autumn comes to the Cherry Valley Feed & Seed. The 50-lb sacks of sawgrass and lime give way to mulch and sand for local drives, and the swing sets and folding chairs and posthole diggers and bug zappers and flagpoles have been brought inside until next spring, which is scheduled for mid-June.

Audiophiles once took it as given that LPs sounded better than CDs&mdash;end of discussion. Things are no longer so cut-and-dried. In my seven years as a contributing editor to <I>Stereophile</I>, I've seen an enormous improvement in the quality of digital software and playback-delivery systems. The early-1980s recording and remastering anomalies that made listening to early digital recordings so fatiguing are largely things of the past, though advocates of massive compression, jacked-up gain, and compensatory EQ ("Sounds-better-on-cheap-radios," they dully chant) continue to sully the waters of natural resolution.

Audiophiles once took it as given that LPs sounded better than CDs&mdash;end of discussion. Things are no longer so cut-and-dried. In my seven years as a contributing editor to <I>Stereophile</I>, I've seen an enormous improvement in the quality of digital software and playback-delivery systems. The early-1980s recording and remastering anomalies that made listening to early digital recordings so fatiguing are largely things of the past, though advocates of massive compression, jacked-up gain, and compensatory EQ ("Sounds-better-on-cheap-radios," they dully chant) continue to sully the waters of natural resolution.

Audiophiles once took it as given that LPs sounded better than CDs&mdash;end of discussion. Things are no longer so cut-and-dried. In my seven years as a contributing editor to <I>Stereophile</I>, I've seen an enormous improvement in the quality of digital software and playback-delivery systems. The early-1980s recording and remastering anomalies that made listening to early digital recordings so fatiguing are largely things of the past, though advocates of massive compression, jacked-up gain, and compensatory EQ ("Sounds-better-on-cheap-radios," they dully chant) continue to sully the waters of natural resolution.