I've been wrestling with my elders about new ways to measure loudspeakers, lobbying for methods that might correlate more directly with a listener's experience. And wouldn't you know? Right in the middle of this Socratic dialogue, I put the fresh-from-UPS, $1000/pair, Tannoy Revolution XT 6s into my reference system, plunking them down on my 24" Sound Anchor Reference stands in the same spot my Harbeth P3ESRs had been sitting. And I freaked! I was using the Rogue RP-7 preamp and the Rogue Stereo 100 (100Wpc) amplifier, and I could never adequately describe how bad the shiny white Tannoys sounded. Imagine sound that's thin, metallic, herky-jerky, dull, and rolled off completely below about 90Hz.

Canadian audio manufacturer Classé Audio was founded in 1980 by engineer Dave Reich and entrepreneur/audiophile Mike Viglas. The name "Classé" was a pun on the fact that Reich was a firm believer in an amplifier's output stage operating in class-A, where the output devices never turn off (see sidebar). Though the brand was established with the 25Wpc DR-2, the first review of a Classé amplifier to appear in Stereophile, by Larry Greenhill, was of the later DR-3, in December 1985. No fewer than 22 reviews of Classé products are available in our free online archive.

Jazz collecting has an archaeological aspect to it; it's one of my favorite aspects of the hobby. Far more than most other genres, jazz evolved over its first several decades, and it did so on record. Every musician was distinctive, changed from session to session, and interacted with other musicians in ways specific to the ensemble, the time, the place, and the mood. Every record, live or from a studio, is a snapshot of where jazz was precisely then and there. You can get to know musicians' styles, and with practice, you can really hear what's going on.