Audiophiles almost universally agree that hearing—or "auditory perception" to neuroscientists—improves with practice. That phenomenon would explain why many of us are able to hear differences between audio components that untrained listeners can't hear.

From the March 2001 issue, Michael Fremer finds that, although homely in appearance, the <A HREF="http://www.stereophile.com//amplificationreviews/441/">Herron Audio M150 monoblock power amplifier</A> has several endearing qualities. As Fremer explains, "Herron approaches the marketplace in a cautious, stealthy manner, working from the ground up to grab the ears of audiophiles." MF tells us where this amp grabbed <I>him</I>.

Sony describes the $700 TA-P9000ES as "a pure audio multichannel preamplifier equipped with two inputs for 5.1 analog multichannel audio sources, enabling selection, volume control, and amplification." A relay with twin gold-plated crossbars switches the two six-channel sources. Then follows a class-A solid-state push-pull amplifier in discrete configuration. Separate transistors, resistors, and capacitors populate the printed circuit boards. An oxygen-free copper shield surrounds each channel to prevent crosstalk between the channels. In addition, there is a relay-controlled gain stage offering 0, +6, and +12dB amplification.

Sony describes the $700 TA-P9000ES as "a pure audio multichannel preamplifier equipped with two inputs for 5.1 analog multichannel audio sources, enabling selection, volume control, and amplification." A relay with twin gold-plated crossbars switches the two six-channel sources. Then follows a class-A solid-state push-pull amplifier in discrete configuration. Separate transistors, resistors, and capacitors populate the printed circuit boards. An oxygen-free copper shield surrounds each channel to prevent crosstalk between the channels. In addition, there is a relay-controlled gain stage offering 0, +6, and +12dB amplification.

Sony describes the $700 TA-P9000ES as "a pure audio multichannel preamplifier equipped with two inputs for 5.1 analog multichannel audio sources, enabling selection, volume control, and amplification." A relay with twin gold-plated crossbars switches the two six-channel sources. Then follows a class-A solid-state push-pull amplifier in discrete configuration. Separate transistors, resistors, and capacitors populate the printed circuit boards. An oxygen-free copper shield surrounds each channel to prevent crosstalk between the channels. In addition, there is a relay-controlled gain stage offering 0, +6, and +12dB amplification.

Record stores are devoting a diminishing amount of space to classical music, to the dismay of music lovers. Online distribution may offer hope for the genre, according to an <A HREF="http://www.nytimes.com/2001/10/21/arts/music/21TOMM.html">in-depth report</A> by Anthony Tommasini in the October 21 edition of the <I>New York Times</I>.

Yet another variation on restricted-use compact discs appeared last week, when Phoenix-based <A HREF="http://www.sunncomm.com/">SunnComm</A&gt; announced an agreement with Nashville's Sunbird Records that also includes revenue sharing. Sunbird says it is preparing to release country music singer Len Doolin's <I>Once in a Lifetime</I> on November 1 using SunnComm's new "Expanded Experience CD" (CD3) technology in an effort to restrict use of the disc on computers.

Times are tough in the online audio delivery market, with long-established start-ups struggling to keep pace with competing formats from Microsoft as well as the ever pervasive MP3. Particularly hard hit has been <A HREF="http://www.liquidaudio.com">Liquid Audio</A>, which along with competitor Real Audio, has for the last few years attempted to create the <I>de facto</I> standard for online music commerce.

Kalman Rubinson says he "anticipated the installation of the <A HREF="http://www.stereophile.com//amplificationreviews/437/">TacT Audio RCS 2.0 digital equalizer/preamplifier</A> with mixed emotions." Would his hard work at setting up the perfect listening environment be rendered irrelevant in the face of digital signal processing? Or would the future of audio unfold at his feet?