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Barry Willis Posted: Jun 25, 2000 0 comments
For months now, the music industry has concentrated all its legal firepower on Napster, the Silicon Valley–based software company that lets users share music; and against San Diego's, which lets users upload their music to a central server and then access it from any Internet-connected computer. As of the end of June, it appears that will likely be co-opted by the industry's Big Five until it is no longer a threat—two of the major labels have already settled with the startup—but Napster will fight on.
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Jon Iverson Posted: Jun 25, 2000 0 comments
One can almost imagine how it all started: "Hey, you got a computer in my audio system." "No, you got an audio system in my computer . . . "
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Stereophile Staff Posted: Jun 25, 2000 0 comments
The demise of Apogee Acousitics three years ago was one of high-end audio's biggest losses. The company's ribbon loudspeakers were among the best-sounding and best-looking high-fidelity products ever made. What remained of Apogee was picked up by a/d/s/, which at the time made a commitment to supply parts and service for the thousands of speakers in use, but that plan appears to have been abandoned shortly after it was announced. Apogee owners have since had to fend for themselves.
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Barry Willis Posted: Jun 25, 2000 0 comments
Making good its intention to move heavily into the ever-expanding consumer-electronics market, Texas Instruments has announced that it will acquire chipmaker Burr-Brown Corporation for $7.6 billion in stock. Burr-Brown makes some of the most highly regarded A/D and D/A converter chips on the market, many of them used in high-end audio and home-theater products.
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Gigi Krop Posted: Jun 25, 2000 0 comments
It was 2am on January 8, 2000, and I was sitting at the bar of the Paris Hotel in Las Vegas. I'd just arrived for the Consumer Electronics Show and was recovering from a stressful day of travel. The airlines have a new computerized ticketing technology called the "electronic ticket": you get a reservation and a confirmation number, but no physical plane ticket, itinerary, or the feelings of security that accompany those pieces of paper.
John Atkinson Posted: Jun 25, 2000 0 comments
Although Kentucky loudspeaker manufacturer Thiel has produced some standmounted models for home-theater use, all of their serious music speakers have been floorstanders. Enter the PCS: even though styled to match every Thiel speaker since the groundbreaking CS5 of 1989, the 19"-high PCS sits on a stand, not the floor.
John Atkinson Posted: Jun 23, 2000 0 comments
The Mirage OM-6 loudspeaker, from Canadian manufacturer Audio Products International, mightily impressed Stereophile's Tom Norton when he reviewed it back in November 1997. But with its "omnipolar" design and powered woofer, the OM-6 wasn't a speaker for those of us with more conventional tastes in speaker design. So when I heard that Mirage's Ian Paisley was working on a high-performance two-way minimonitor based on the OM-6's drive-unit technology, I asked API's affable PR man, Jeff Percy, for review samples.
Wes Phillips Posted: Jun 22, 2000 0 comments
The Emerson String Quartet defies conventional wisdom. They like to take risks, and they use the adrenaline that creates to hone their music-making to a fine edge.
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Stereophile Staff Posted: Jun 18, 2000 0 comments
Back in 1979, most of us had never seen a digital audio product, much less heard one, but J. Gordon Holt knew what was coming: "The beginning of 1979 saw the introduction of the first samples of what will finally, after 79 years of supremacy, lower the curtain on the mechanically-traced disc: The digital recording." In "High Fidelity at the Crossroads," Holt looks at the new twinkle in Sony's eye and makes some sage observations.
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Barry Willis Posted: Jun 18, 2000 0 comments
There is a war of words—and numbers—being waged in the struggle over copyright infringement and the illegal copying of music. Downloading music is a boon to the music industry, claim some, because it leads to increased sales of CDs. Others present statistics that undeniably prove that downloading will be the death of the music business.


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