The best tonearm I ever heard was a second-generation Mission Mechanic, <I>ca</I> 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other&mdash;my home system of the time&mdash;using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.

The best tonearm I ever heard was a second-generation Mission Mechanic, <I>ca</I> 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other&mdash;my home system of the time&mdash;using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.

The best tonearm I ever heard was a second-generation Mission Mechanic, <I>ca</I> 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other&mdash;my home system of the time&mdash;using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.

The best tonearm I ever heard was a second-generation Mission Mechanic, <I>ca</I> 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other&mdash;my home system of the time&mdash;using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.

The best tonearm I ever heard was a second-generation Mission Mechanic, <I>ca</I> 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other&mdash;my home system of the time&mdash;using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.

The music industry is facing its toughest business climate in recent memory, and slow sales are hurting not only the record labels, but music retailers as well. In the face of continuing sales declines, store closings, mergers and consolidations, layoffs, and seemingly intractable digital distribution issues, the industry came together last month for its annual <A HREF="http://www.narm.com">National Association of Recording Merchandisers</A> (NARM) convention and trade show in Orlando, FL.

Michael Fremer <I>almost</I> grasps upsampling when he looks into the <A HREF="http://www.stereophile.com//digitalsourcereviews/814/">dCS Verdi SACD transport, Purcell D/D converter, and Elgar Plus D/A converter</A>. MF notes, "Explaining what you get for your $34k is somewhat easier than explaining upsampling, but due to the dCS gear's enormous flexibility and multitude of features, it's not <I>that</I> much easier."

<I>Stereophile</I> was saddened to learn of the death of Herb Papier earlier this month. He was 86. A musician&mdash;he was an amateur trumpeter&mdash;music lover, and inventor, Papier was best known in the audiophile community as the designer and original manufacturer of the Wheaton Tri-Planar tonearm.

If a recent announcement by the nation's largest radio broadcaster is any indication of a trend, independent music promoters may be on their way to extinction.