<B>VARIOUS ARTISTS: <I>Sacred Steel</I></B><BR> Arhoolie CD450 (CD). 1997. Robert Stone, prod.; Chris Strachwitz, exec. prod. AAD? TT: 74:29<BR> Performance <B>*****</B><BR> Sonics <B>****</B>

On January 28, <A HREF="http://www.carver.com">Carver Corporation</A> announced the resignations, effective January 21, 1998, of Mr. Thomas C. Graham and Mr. John F. Vynne as directors of the company so each can devote more time to his respective business. Carver Corp. also announced the resignation of Mr. Stephen M. Williams as a director of the company effective January 27, 1998. Mr. Williams is pursuing other business opportunities that preclude his continued service as a director of Carver Corp.

The <A HREF="http://www.cema.org">Consumer Electronics Manufacturers Association</A> (CEMA) announced on January 23 that total November audio sales bounced back modestly from an anemic October, but were still off by 1% for both the month and year to date. Total dollars for the first 11 months of 1997 stand at $7.2 billion, compared to $7.3 billion at this time in 1996. Nevertheless, spectacular sales of audio systems are singlehandedly offsetting the lackluster sales in all other areas.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.

Chances are you've never seen an amplifier quite like the Mark Levinson No.33H. That's because there's only one other amp that's anything like it: the Mark Levinson No.33, upon which it's based. Both amps are more tall than broad, looking almost as though they're resting on their ends; heatsinks cluster around their side-panels. In the city of the High End, the No.33 and No.33H are skyscrapers standing tall above the warehouses.