Whoever invented the adage "Good things come in small packages" wasn't into high-end audio. Most high-end products are huge and heavy, with massive power supplies, thick front panels, and battleship build quality. This dreadnought approach is justified if it directly affects the unit's sonic performance (as in the Mark Levinson No.31 transport, for example). In some products, however, the massive build can reflect a shotgun, overkill approach by the designer, or a mere fashion statement.

Friday April 13 and Saturday April 14, Canadian dealer The HiFi Attic is holding events at its Vernon location (Friday, 3–9pm, 3108 30th Avenue, Vernon, BC V1T 2C2), and Kelowna location (Saturday, 10am–5pm, 1292 Ellis Street, Kelowna, BC V1Y 1Z4). Featured will be Bowers and Wilkins 700 series speakers, AudioQuest, and BlueSound/MQA.

Spring may be a little late arriving this year, to judge from the weather in New York, but the May issue is on its way to subscribers, newsstands, and tablets. Featuring Bowers & Wilkins' impressive 702 S2 speaker on the cover, which is reviewed inside by Kal Rubinson, this issue features reviews of amplifiers from Luxman, Mark Levinson, NAD, and Parasound; phono cartridges from Soundsmith and Audio-Technica; an intriguing NOS DAC from HoloAudio; Art Dudley on a DeVore Fidelity speaker; and, believe it or not, a smartphone that offers both hi-rez and MQA playback.

In appearance the Counterpoint SA-7 tube preamplifier is quite attractive, possessing the thin, low-profile look currently in vogue. There is a mute switch which (if you remember to use it) protects your amplifier from the preamp's turn-on and turn-off thumps. Unfortunately, the volume control on my unit didn't track accurately, and it was necessary to adjust balance with each change in volume. One unusual feature: the balance control allows very fine gradations in balance adjustment (a large movement of the control results in a small change in balance).

Early pre-recorded cassettes were so shockingly variable that reviews of their sound would have served no purpose. Some later ones are remarkably good, though. Following are some recordings that we have found to combine excellent performance and superb recordings, some on cassette as well as LP:

There I was, at my son Peter's thirtieth birthday party at Black Flamingo in Brooklyn, staring at a large. floorstanding speaker cabinet. Then it hit me—young people are gathering in groups to listen and dance to high-quality music playback. Just like we used to do!

My excitement upon discovering the heretofore unavailable two-CD set, Régine Crespin: Rare Broadcast Recordings, in the catalog of historical performance specialist Norbeck Peters & Ford can only be partially conveyed through words. Crespin's London/Decca studio recordings of Berlioz's Les Nuits d'été and Ravel's Shéhérazade, accompanied by Ernest Ansermet et L'Orchestre de la Suisse Romande, which were captured in Victoria Hall, Geneva in September 1963, have long been coveted by audiophiles for both their sound quality and Crespin's incomparable artistry. The opportunity to hear the same two French song cycles, delivered with the extra frisson and interpretive touches that great singers share in live performance, in a collection that also includes other live and rarely encountered studio performances by Crespin, is not to be missed.