The first album I ever bought with my own money—cash earned mowing neighbors' lawns—was a British plum-label pressing of Led Zeppelin II. It was 1971. I rode my prized Raleigh Chopper bike from our home on the coast of Denmark down the road a couple of miles to the local record store in a small town called Hørsholm.

After entering the store and browsing for a few minutes, I mustered up sufficient courage to head to the counter with the second Zeppelin LP and ask to listen to it. All was musical bliss for a few minutes. Then just as I was really getting into it, about halfway through "What Is and What Should Never Be," the clerk decided I'd heard enough and rudely interrupted my listening session with a "get lost kid" look on his face. I surprised him by pulling out my lawn-mowing cash and buying the album. I pedaled home furiously, as fast as I could, and slapped my first LP onto the family Garrard Autoslim, which I wrote about in Spin Doctor #11.

Gary Dews of BorderPatrol Audio Electronics and Pete Grzybowski of Triode Wire Labs presented a system that played with fantastic dynamics and equally impressive resolution.

Years ago, at one of the milestone NYC anniversary parties for Blue Note Records, a piercing voice burst out above the clinking glasses and chattering tongues, loudly declaiming (quoted here with several profanities omitted), "Blue Note never gave me a dime!"

A lot of people turned to see who dared profane the label within earshot of beloved Blue Note president Bruce Lundvall and his staff, including the late Tom Evered. A gasp of recognition followed when it was discovered that those words had come from Lou Donaldson, one of the few original Blue Note bebop stars still out partying and playing music in the 21st century.

Stereophile's Julie Mullins walks us through Advance Paris’s high‐performance hybrid amplifiers in a Playback Distribution room. At the Florida International Audio Expo 2025, she spoke with Cédric Léon about the company's offerings, now available in the U.S. market.

More than five years have passed since I evaluated the original, Canada-made DV2 D/A converter ($30,000 in 2019) from EMM Labs. Since then, I've heard it and other top DACs—many of them at audio shows; some in my reference system—and my appreciation for what the original DV2 could deliver has only increased.

Now arrive two new components, the DV2's twin successors: the DV2i, an "integrated" stereo D/A converter with a software-driven, high-resolution digital volume control, and the subject of this review, the DA2i, a straight D/A with no volume control. Both cost $35,000.

At the Florida International Audio Expo, Julie Mullins interviewed the Scott Walker Audio team as they showcased Aldo Filippelli’s installation from Luxury Audio Group. Every component was selected to suit a 35×55' room with 10' ceilings, ensuring the system delivers precise, adaptable sound in a challenging space.