Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Back in 1992, Robert Harley's <I>Stereophile</I> review of the <A HREF="http://www.stereophile.com//amplificationreviews/520/">McCormack DNA-1</A> and Parasound HCA-2200 amplifiers (April 1992, Vol.15 No.4) and the accompanying technical measurements piqued my interest. So, with great curiosity, I arranged to borrow a DNA-1 to audition, along with competitive amps from Aragon, Bryston, and PS Audio. They were all a leap ahead of my Adcom GFA-555, but it took an act of great courage to accept that, despite its less-than-stellar measured performance, the DNA-1 was my favorite. The bottom line was that the DNA-1 excelled at driving my Apogee Duettas to make lively and harmonically pure sounds. I bought my McCormack DNA-1 amplifier before I began reviewing equipment for <I>Stereophile</I>, and it still occupies an honored place in my system.

Artists' groups are celebrating what they hope will be more than a symbolic victory over the recording industry in the wake of legislation signed by President Clinton the last week of October. Known as "The Works Made for Hire and Copyright Corrections Act," the repeal negates a provision that was inserted into last year's "Satellite Home Viewer Act" at the insistence of the <A HREF="http://www.riaa.com/">Recording Industry Association of America</A>, designating musical recordings as "works for hire." Such a designation catergorizes a musical recording as a commodity that can be purchased at a fixed price, such as a table built by a furniture craftsman, rather than as a performance subject to syndication and royalty fees.

John Atkinson points out that "a much-touted benefit of DVD-Audio and Super Audio CD is that these new media can store digital audio data extending one or more octaves higher in frequency response than the capabilities of the CD." But is this a difference that makes a difference? Atkinson examines the mounting pile of data in <A HREF="http://www.stereophile.com//features/282/">What's Going On Up There?</A> Is there recorded life above 20k? The answer may surprise you.

A group of researchers has claimed success at cracking four digital audio watermarking technologies presented in a challenge by the <A HREF="http://www.sdmi.org/">Secure Digital Music Initiative</A> in September. The claim has been denied by David Leibowitz, chairman of <A HREF="http://www.verance.com/">Verance Corporation</A>, creator of one of the challenged watermarks. SDMI has made no public statement on the claim, and has resolved to remain silent until all 447 submitted hacks are evaluated.

Five years after opening a research office in Moscow, <A HREF="http://www.bmg.de/">BMG Entertainment</A> has launched an affiliate called BMG Russia OOO, which will work from the capital. The intent is to develop the Russian market for BMG products, discover and sign new musical talent&mdash;and combat piracy.

It's a brave new audio world: Coinciding with last week's release of Medeski, Martin & Wood's latest work, <I>The Dropper</I>, to retailers' shelves as a polycarbonate-and-aluminum CD, <A HREF="http://www.liquidaudio.com">Liquid Audio</A> announced that the title was simultaneously being made available as a full-album digital download. Liquid reports that this is the first time a <A HREF="http://www.bluenote.com">Blue Note</A> title has been released in a digital format at the same time as its physical release.