One of the few '70s funk/soul holy grails that’s actually worth digging for.

In "Music and Fractals" in the November 1990 issue, I discuss how digital audio's quantization of amplitude information in what was originally a continuous waveform represents a fundamental difference between analog and digital representations of music. In a letter published in the English magazine Hi-Fi Review in January 1990, John Lambshead conjectured that naturally originating sounds were pseudo-fractal in character; that is, their waveforms have a wealth of fine detail, and that detail itself has an even finer-structured wealth of fine detail, and so on, until the crinkliness of the waveform is finally enveloped in the analog noise that accompanies every sound we hear.

We're celebrating the imminent arrival of our January 2017 issue, chock full of great stuff. MartinLogan's superb Renaissance ESL15A electrostatic is featured on the cover but we also have a rave review of B&O's groundbreaking BeoLab90 speaker, measurements of Auditorium 23's retro Cinema Hommage speaker, reviews of headphone amplifiers from Audeze and Woo Audio, and an interview with a veteran of both the audio and music industries, Joe Harley of AudioQuest and Music Matters.

The English loudspeaker manufacturer Rogers [no connection with the contemporary US company Rogers High Fidelity] has had an illustrious history since being founded in 1947 by veteran designer Jim Rogers. Absorbed by the Swisstone company in 1976, it has since gone from strength to strength, the main creative work now being done by the respected English engineer Richard Ross. Noteworthy for keeping the miniature BBC LS3/5a design in continuous production for nearly 15 years, Rogers also makes a range of polypropylene-cone woofers and midrange units which are used in other models in its range.