While the LP-<I>vs</I>-CD debate continues unabated among high-end audiophiles, the rest of the world has already closed the book on the venerable LP. All but a few specialized classical record companies (footnote 1)(and some weird magazines) have ceased releasing new LPs, few record stores sell them any more, and consumers who wouldn't be caught dead owning something that wasn't trendy have long ago dumped their LP collections for cents on the pound.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

In the Fall of 1989, <I>Stereophile</I> magazine released its first recording, of Gary Woodward and Brooks Smith playing flute sonatas by Prokofiev and Reinecke, and a work by American composer Griffes that gave the LP its title: <I>Poem</I> (footnote 1). The <A HREF="http://www.stereophile.com//interviews/527/">full story</A> was published in the September 1989 issue (p.66). We wanted to offer our readers an LP of acoustic music made with the minimum of electronics and processing&mdash;the sounds of the instruments would be as true to reality as possible. The images of the instruments were also captured with a purist microphone technique so that, with even a halfway decent system, a true soundstage would be created between and behind the loudspeakers when the recording was played back.

When sociologists tell us America is a highly mobile society, they don't just mean we do lot of driving. What they mean is, we do a lot of moving. The good old three-generation family homestead, immortalized in nostalgia TV and literature, is a thing of the past. According to census information, almost 20% of America's population changes its address every year. Of course, it's usually a different 20% every year, but pulling up roots and moving---to a bigger house, a better neighborhood or a nicer city, not to mention a place where your employer decides to transfer you---is almost as commonplace across the US of A as marriage, divorce, and unbridled greed.