Rudyard Kipling said that "never the twain shall meet." He was speaking of East and West, but in the world of audio, his adage has most often been applied to what has been the traditional chasm between the sounds of tubes and solid-state. Tube advocates thump the tub for the timbral and spatial glow, the absence of harsh, odd-order harmonic distortions, the harmonic completeness and holistic spatiality that only fire bottles can provide. Solid-state advocates point out the superiority of their preferred gear in terms of bass depth, power and control, low noise, and ultimate detail resolution. That chasm between the characteristic sounds of tube and transistor has narrowed appreciably in the latest generations of gear, as each type of circuit has become capable of embodying some of the other's trademark characteristics. But between the camps, friendly competition continues.

Rudyard Kipling said that "never the twain shall meet." He was speaking of East and West, but in the world of audio, his adage has most often been applied to what has been the traditional chasm between the sounds of tubes and solid-state. Tube advocates thump the tub for the timbral and spatial glow, the absence of harsh, odd-order harmonic distortions, the harmonic completeness and holistic spatiality that only fire bottles can provide. Solid-state advocates point out the superiority of their preferred gear in terms of bass depth, power and control, low noise, and ultimate detail resolution. That chasm between the characteristic sounds of tube and transistor has narrowed appreciably in the latest generations of gear, as each type of circuit has become capable of embodying some of the other's trademark characteristics. But between the camps, friendly competition continues.

Rudyard Kipling said that "never the twain shall meet." He was speaking of East and West, but in the world of audio, his adage has most often been applied to what has been the traditional chasm between the sounds of tubes and solid-state. Tube advocates thump the tub for the timbral and spatial glow, the absence of harsh, odd-order harmonic distortions, the harmonic completeness and holistic spatiality that only fire bottles can provide. Solid-state advocates point out the superiority of their preferred gear in terms of bass depth, power and control, low noise, and ultimate detail resolution. That chasm between the characteristic sounds of tube and transistor has narrowed appreciably in the latest generations of gear, as each type of circuit has become capable of embodying some of the other's trademark characteristics. But between the camps, friendly competition continues.

With few exceptions, 2003 has been a slow year for specialty A/V retailers. In late November, both Ultimate Electronics and Tweeter Group reported disappointing figures for their third and fourth fiscal quarters, respectively. New York's Harvey Electronics, however, posted respectable gains given the stagnant economy.

It's bad enough that the consumer electronics giants and small fry compete with each other. Increasingly, they are finding they must defend themselves against an onslaught from the personal computer industry which is eating away at the market share of traditional CE vendors.

Is bigger better? Michael Fremer sets out to determine just that as he reviews the <A HREF="http://www.stereophile.com/amplificationreviews/1103pass">Pass Labs XA160 monoblock power amplifier</A>. As Fremer explains, "While the industry-feminizing tiny triode set has made a great deal of noise in the past few years (I can hear them hissing now), soft-walking, big-stick-carrying, mega-power amplifiers still circle the globe."

<I>See update at end of article.</I> iTunes continues to grow and Napster has been reborn, but these last few months have been a bumpy ride for <A HREF="http://MP3.com">MP3.com</A&gt;. The music site, known for its large online music library featuring unsigned independent artists, was purchased on December 14 by San Francisco-based <A HREF="http://www.CNET.com">CNET</A&gt;.

<B><I>TOUS LES MATINS DU MONDE</I> (soundtrack)</B><BR>
Jordi Savall, Christophe Coin, bass viols; Les Concert des Nations, Jordi Savall, dir.<BR>
Valois/Auvidis V 4640 (CD only). Pierre Verany Studios, production & engineering. DDD. TT: 76:00