A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [<I>gasp!</I>] "purchase.") Before I bought my long-term reference loudspeakers&mdash;a pair of <A HREF="http://www.stereophile.com/standloudspeakers/272">B&W John Bowers Silver Signature</A>s&mdash;back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of <I>Stereophile</I> (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [gasp!] "purchase.") Before I bought my long-term reference loudspeakers—a pair of B&W John Bowers Silver Signatures—back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of Stereophile (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [<I>gasp!</I>] "purchase.") Before I bought my long-term reference loudspeakers&mdash;a pair of <A HREF="http://www.stereophile.com/standloudspeakers/272">B&W John Bowers Silver Signature</A>s&mdash;back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of <I>Stereophile</I> (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [<I>gasp!</I>] "purchase.") Before I bought my long-term reference loudspeakers&mdash;a pair of <A HREF="http://www.stereophile.com/standloudspeakers/272">B&W John Bowers Silver Signature</A>s&mdash;back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of <I>Stereophile</I> (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [<I>gasp!</I>] "purchase.") Before I bought my long-term reference loudspeakers&mdash;a pair of <A HREF="http://www.stereophile.com/standloudspeakers/272">B&W John Bowers Silver Signature</A>s&mdash;back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of <I>Stereophile</I> (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

A reviewer's life is not all fame and fortune. There are downsides, too, one of which is that, while many great-sounding components pass through your listening room, only a few get to stay there on anything like a permanent basis. (And that involves money changing hands, as in [gasp!] "purchase.") Before I bought my long-term reference loudspeakers—a pair of B&W John Bowers Silver Signatures—back in 1994, the speakers that had spent the most time in my 2900-cubic foot listening room were a pair of Thiel CS2 2s. I reviewed the '2 2 in the January 1993 issue of Stereophile (Vol.16 No.1), and although it was relatively affordable ($2250/pair at the time of the review), it did most of what I wanted a speaker to do. Other than a limited dynamic range in the bottom audio octave and a slightly exaggerated top octave, the CS2 2 sounded effortlessly smooth and free from coloration throughout the midrange and treble. It was also a real imaging champ.

Members of San Francisco's legendary Grateful Dead have announced plans to reunite for a six-week, 25-city tour beginning in June. The group---whose core consists of original Dead members Phil Lesh (bass), Bob Weir (guitar), and Mickey Hart (drums)---will call itself The Other Ones, after an old Dead tune. The group will headline the third annual "Furthur" tour.

Move over, <A HREF="http://www.cdnow.com">CDNow</A&gt;, <A HREF="http://www.n2k.com">N2K</A&gt;, and <A HREF="http://www.musicblvd.com">Music Boulevard</A>---<A HREF="http://www.Amazon.com">Amazon.com</A&gt; and <A HREF="http://www.bestbuy.com">Best Buy</A> want to play.

In cooperation with the International Intellectual Property Alliance, the <A HREF="http://www.riaa.com">Recording Industry Association of America</A> filed a <A HREF="mailto:lpelliccia@riaa.com">report</A&gt; in February with the United States Trade Representative outlining the problems that US record companies face conducting business in foreign marketplaces. The report highlights inadequacies in copyright protection with respect to standards and enforcement, and identifies major impediments to market access.