LATEST ADDITIONS

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Barry Willis Posted: Feb 28, 1999 0 comments
The popular condensation of Darwin's theory of evolution is "adapt or die." The phrase could certainly have been addressed to the music-industry establishment by any one of four Internet entrepreneurs in a public discussion last week at San Francisco's Commonwealth Club. The four---Gerry Kearby of Liquid Audio, Gene Hoffman of GoodNoise, Arnold Brown of AudioExplosion, and Andrew Keen of Audiocafe.com---gathered at the public affairs forum Tuesday evening, February 22, for a spirited discussion of "The Future of Music Distribution."
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Stereophile Staff Posted: Feb 28, 1999 0 comments
Rumors have been confirmed that high-end audio journal Fi Magazine, which just entered its fourth year of publication, closed its doors last Friday, February 26. In a conversation with Stereophile publisher emeritus Larry Archibald, former Fi editor Jonathan Valin commented that "It was really a shame. I never worked so long and so hard on anything, and it didn't have to end the way it did---but I don't want to go into it. The money was there to keep it going." John Atkinson had been told at CES by a Fi spokesperson that a new source of investment had been found, but we can only assume that the deal fell through.
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Paul Messenger Posted: Feb 27, 1999 0 comments
The final piece of the TGI/Mordaunt-Short/Epos jigsaw puzzle (see previous story) seems to have fallen into place, with the news that Mike Creek (of the UK's Creek Audio) is purchasing the Epos loudspeaker brand, effective March 1.
Jonathan Scull Posted: Feb 27, 1999 0 comments
I've heard it all a thousand times before:
Lonnie Brownell Posted: Feb 26, 1999 0 comments
"More power!!!"
John Atkinson Posted: Feb 25, 1999 0 comments
The standalone digital/analog converter emerged as a product category in 1987 with the appearance of the Arcam Black Box and the Marantz CDA-94, closely followed by the PS Audio Link. The idea was that putting the sensitive D/A-conversion and analog stages in a separate enclosure with its own power supply would maximize the sound quality when compared with packing these circuits in the same box as the transport. However, it turned out that the routing of the digital data between transport and processor in the form of an S/PDIF- or AES/EBU-encoded bitstream could introduce word-clock jitterwhich undid much of the sonic advantages. (See "Bits is Bits" by Malcolm Hawksford and Chris Dunn, Stereophile, March 1996.)
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Jonathan Scull Posted: Feb 23, 1999 0 comments
Bill Gates would have you believe we live in a plug'n'play world. Apple has proselytized same since day one. But I'm here to tell you it just isn't so for high-end audio. The orientation of a component's AC plug—even the quality of the wall receptacle itself—affects the sound! Oh no, Mr. Bill, not something else to futz with! Will it never end?
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Jon Iverson Posted: Feb 21, 1999 0 comments
Two elements that keep the audio business interesting are the new companies and technologies arriving almost every week (see also BW's story). Some stick around for years, while others fade away between hi-fi shows. But amid the incessant change are a handful of characters who stay with it, continually evolving with the industry and reinventing themselves with each twist and turn.
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Stereophile Staff Posted: Feb 21, 1999 0 comments
A study released earlier this month by The Arbitron Company and Edison Media Research shows that Internet radio broadcasting continues to be a fast-growing medium. The survey of Arbitron diarykeepers also brings to light both the challenges and opportunities that the Internet presents to radio broadcasters, particularly in the much-talked-about arena of e-commerce.
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Stereophile Staff Posted: Feb 21, 1999 0 comments
The official website of the 41st Annual Grammy Awards was launched earlier this month with the help of a media team from the Atlanta division of International Business Machines. The Java-based site provides background information on the artists and events of the music-awards extravaganza, taking place Wednesday evening, February 24, at the Shrine Auditorium in Los Angeles.

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