By now you've no doubt realized that <I>Stereophile</I> has changed its size&mdash;from 5&#189;" by 8 7/16" to 7&#189;" by 10&#188;". (All right&mdash;maybe you didn't know the <I>exact</I> dimensions of the change, but that's what they are.) We have Edward Chen, Publisher of <I>Stereophile</I>'s Chinese edition, to thank for our new size. It is the same size as the Chinese <I>Stereophile</I> and a common size in the Far East. We've been admiring it in Chinese for the last two-and-a-half years, and we thought it would make sense in English as well.

By now you've no doubt realized that <I>Stereophile</I> has changed its size&mdash;from 5&#189;" by 8 7/16" to 7&#189;" by 10&#188;". (All right&mdash;maybe you didn't know the <I>exact</I> dimensions of the change, but that's what they are.) We have Edward Chen, Publisher of <I>Stereophile</I>'s Chinese edition, to thank for our new size. It is the same size as the Chinese <I>Stereophile</I> and a common size in the Far East. We've been admiring it in Chinese for the last two-and-a-half years, and we thought it would make sense in English as well.

By now you've no doubt realized that <I>Stereophile</I> has changed its size&mdash;from 5&#189;" by 8 7/16" to 7&#189;" by 10&#188;". (All right&mdash;maybe you didn't know the <I>exact</I> dimensions of the change, but that's what they are.) We have Edward Chen, Publisher of <I>Stereophile</I>'s Chinese edition, to thank for our new size. It is the same size as the Chinese <I>Stereophile</I> and a common size in the Far East. We've been admiring it in Chinese for the last two-and-a-half years, and we thought it would make sense in English as well.

<B>ANONYMOUS 4: <I>On Yoolis Night</I></B><BR> Medieval Christmas Carols and Motets<BR> Anonymous 4<BR> Harmonia Mundi 907099 (CD only). Robina G. Young, prod.; Brad Michel, eng. ADD? TT: 68:03

By the time you read this, I will have been fortunate enough to have attended a banquet put on by Harry Pearson in celebration of <I>The Abso!ute Sound</I>'s 20th anniversary. <I>Stereophile</I> and <I>TAS</I> may have had their disagreements from time to time, but I take this opportunity to congratulate Harry and his staff on 20 years of excellent high-end publishing. I believe it's not excessively immodest to report that high-end manufacturers frequently remind me of their gratitude for the healthy and vibrant high-end publishing community which exists in the United States&mdash;and does not in most other countries. Many publications make up this community, but <I>Stereophile</I> and <I>TAS</I> are certainly the most widely read.

<B>ARTURO DELMONI: <I>Music for Violin & Guitar</I></B><BR> Handel: Sonata in E. Giuliani: Sonata in A, Op.85. Leisner: Sonata for Violin & Guitar. Kreisler: <I>Andantino</I>. Granados-Kreisler: Spanish Dance. Ravel: <I>Pi&#232;ce en forme de Habanera</I>. Paganini: <I>Cantabile</I>. Chaminade-Kreisler: <I>Serenade Espagnole</I>.<BR> Arturo Delmoni, violin; David Burgess, guitar<BR> Athena Productions ACSC-10006 (CD only). Bob Katz, eng.; Arturo Delmoni, prod. DDD. TT: 62:04

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.

Not that long ago, digital audio was considered perfect if all the bits could be stored and retrieved without data errors. If the data coming off the disc were the same as what went on the disc, how could there be a sound-quality difference with the same digital/analog converter? This "bits is bits" mentality scoffs at sonic differences between CD transports, digital interfaces, and CD tweaks. Because none of these products or devices affects the pattern of ones and zeros recovered from the disc, any differences must be purely in the listener's imagination. After all, they argued, a copy of a computer program runs just as well as the original.