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When you think of his name on phrase comes to mind:

Sometimes wandering the streets of New York I hear whining about how “far from nature’ someone is; or how there’s too much concrete; or how the exhaust–filled air is hurting their lungs. Well, boo hoo. If it’s purple mountains majesties you seek, NYC ain’t the place. You come here for the human culture not the natural beauty—although now that I think of it, there are other, very compelling forms of natural beauty in NYC, if you catch my drift, wink, wink, nod, nod, say no more, but I digress.

It was late last year, when the leaves and the temperatures started to fall, that I first became interested in Effi Briest, the hypnotic and alluring all-female band performing out of Brooklyn, NY. Their video for “Mirror Eye” was <a href="http://blog.stereophile.com/stephenmejias/effi_briests_mirror_rim/">a dizzying, hallucinogenic trip</a> that matched their sound and their sense of style.

Every audiophile is born sometime, somewhere. My audio birth happened on a family visit to my Uncle John's house, when he played Information Society's "What's On Your Mind (Pure Energy)" through his brand-new Klipsch Heresy IIs. Uncle John did three things at this listening session that turned 12-year-old me into the audiophile I am today: he played music I liked, he played it really loud, and afterward, he took the time to explain how his system worked and why it sounded so good. His Klipsches were powered by Nelson Pass&#150;influenced Nakamichi gear&#151;I'd never before heard speakers play music with such ease or such startling dynamics. I was immediately hooked. In many ways, nothing I've heard since that day has impressed me as much, or been as revelatory of what home audio can do. That single experience set me on a path of caring about re-creating musical performances in my own home.

JBL was founded 60 years ago, by Jim Lansing. Its history has been amply detailed in the book <I>The JBL Story: 60 Years of Audio Innovation</I>, by the late <A HREF="http://www.stereophile.com/news/052107eargle">John Eargle</A>'s (JBL Professional, 2006). Although it is primarily known for its pro-audio loudspeakers, the Californian company has offered a steady stream of high-performance domestic loudspeakers to the home market, including the 1971 Paragon, the L100 bookshelf speaker, and the JBL 250Ti floorstander, all of which remained in JBL's catalog for 20 years. In 1990, JBL produced the Project K2 S9500 flagship speaker for the Japanese high-end market. The K2 Project culminated in the $60,000/pair <A HREF="http://blog.stereophile.com/ces2007/010907mikeyjbl">DD55000 Everest system</A>, with its cross-firing asymmetric horns, and the subject of this review, the Synthesis 1400 Array BG, was a spin-off from the K2 project. It features horn-loaded midrange and tweeters to attain a flat response out to a claimed 48kHz.

The American computer industry was a little shaken up to learn recently that the Japanese micro manufacturers had gotten together and standardized their component interconnections so that any Japanese computer will (supposedly) plug into any Japanese printer, modem, or competing computer, and work right off the bat. Anybody who has tried to fire up an Apple computer with a Diablo (Xerox) printer will appreciate what the Japanese move means in terms of compatibility. It means "For no-hassle interconnections, buy Japanese."

Now that audio technology seems to be on the verge of being able to do anything asked of it, it seems only fitting to wonder about what we should be asking it to do. We probably all agree that high fidelity should yield a felicitous reproduction of music, but felicitous to what? Should a system give an accurate replica of what is on the disc, or of the original musical sounds?