Herb Reichert

To me, the most important issue surrounding the digital vs analog debate is not sound quality (each has their virtues). It is always the user interface: Must I use a keyboard, a remote, or a tonearm finger-lift? I love turntables, tonearms, and cartridges. I especially love them when they are inexpensive, beautiful, easy to use, come with a mounted and aligned Audio Technica cartridge and, amazingly, a uni-pivot tonearm like the new $999 Thorens TD-203 does. Fit and finish looked superb.

I had heard she was talented pianist. I had seen her in photos before, but I never expected the beautiful and statuesque director of Panasonic Technics, Michiko Ogawa, to greet me in person at the door of Technics' CES showroom.

The main joy of returning to audio and writing for Stereophile is the pure fanboy excitement of meeting the folk-heroes of high-end and getting to talk them. In one great-sounding room I got to meet three at once: Wendell Diller of Magnepan (one of the nicest humans in the audio schema) as well as Bill Conrad and Lew Johnson of Conrad-Johnson.

It's been 12 years since I attended a CES in Sin City. The porn stars are gone, but the tube amps and turntables are still here. They are trending the same virtual realities as Pono, the new drones, and cars that drive themselves. The temperature back in New York is heading for the teens but in the lobby of the Venetian, I saw a 3-year old working a smart phone like an aging carny works a 3-card Monte on Beale Street—she was wearing some fancy pink headphones and a matching pink Beatles tee shirt. (Did I mention it was 67°F in front of the Venetian today, the lobby of which is pictured above?)

I was sitting in my high chair, eating strained peas. My father was walking around the kitchen with a wooden box in one hand and a cord with a plug in the other. The box and the cord were attached to each other. I was inspired to utter my first actual sentence: "Plug it in over there!" Moments later, a man with a disturbing voice began squawking from inside the wooden box. It was a radio. Schnapps, our dachshund, barked angrily. I started to cry. Ever since, I've been charmed, fascinated, and mostly annoyed by wooden boxes that talk to me.

It was spring. I was planting kale and cabbage, wearing bib overalls, and listening to Pigboy Crabshaw (aka Elvin Bishop) on my iPhone. My girlfriend, "bb," came out, and just stood there laughing. "What's this? American Gigolo: The Alabama Years?"

Now, please, don't start worrying about your newest Stereophile reviewer. I've owned my share of Julie London and Jennifer Warnes records, but these days I'm more into Hazel Dickens and Maybelle Carter. It's summertime, fish are jumpin', and that dirt-road American music is getting me high.

With quiet elegance, the Sentec EQ11 phono stage and equalizer entered my expanding world of gramophone dreams. The EQ11 ($2500) is a modestly sized, tubed phono stage with the industry-standard RIAA phono equalization and five other EQ curves. These additional curves are for records pressed by companies that did not fully or promptly comply with the new, supposedly global industry standard introduced by the Recording Industry Association of America (RIAA) in 1954.