LATEST ADDITIONS

We all recognize that the <A HREF="http://www.stereophile.com/features/374">Super Audio Compact Disc</A>, despite being an almost ideal format for high-resolution audio, has not replaced the "Red Book" CD. However, Sam Tellig's comments in the June and July issues of <I>Stereophile</I>, and Steve Guttenberg's "<A HREF="http://www.stereophile.com/asweseeit/whatever_happened_to_51-channel_mu… We See It</A>" in July, unleashed e-mails urging me to champion multichannel sound (don't I do this already?) and smite the unbelievers (not a chance).

For an artform in which sound is everything, popular music has been blessed with strangely little poetry: There may be no other genre where high-mindedness falls with such a thud. Leonard Cohen remains the most striking exception, not just for the genuine seriousness of his music or the adulation of his audience, but for the ability of the former to survive the latter.

Finding new music used to be easy: listen to the radio or find a talkative clerk at the local record store. Now that the Internet has changed everything, how do you find new music?

The sixth annual Rocky Mountain Audio Fest is about to get underway at the end of this week. Scheduled to take place October 2&#150;4, at the Denver Marriott Tech Center, the largest high-end audio show in the US that's open to the public will offer 150 exhibit rooms packed with products from 479 companies. Despite the economic slowdown, at least 3500 audiophiles, the same number as last year, are expected to attend.

Wilma Cozart Fine died Monday September 21 at age 82. Together with her husband Bob Fine, Cozart was responsible for producing and engineering Mercury's superb-sounding series of "Living Presence" classical recordings in the 1950s and '60s.

When I attended the Audio Engineering Society convention in October 1987 (my first time in over eight years; full report in this issue), I was impressed by the incredible technology now available to composers of music. I was also dismayed, however, by the extent to which so-called purist audio, as well as "acoustical" music, have been consigned to oblivion by the pro audio community. It was clear, both from the exhibits and the many conversations on which I eavesdropped, that audio professionals are no longer concerned about fidelity, in the sense of trying to <I>re</I>produce sounds accurately. A "real" sound has become to them merely raw material of no value except as something to be processed, manipulated, folded, bent, and spindled to produce any sonic effect except the original one. About a third of the products displayed at the 83rd AES convention were tools for doing that.

<i>Stereophile</i>'s founder, <a href="http://www.stereophile.com/historical/66/index.html">J. Gordon Holt</a>, who passed away in July, was also a recording engineer. Here we see one of his projects, a rare 1958 LP of British-born American folk singer, Richard Dyer-Bennet, the "twentieth-century minstrel."