With hindsight, one of the sideways steps taken by the High End in the early 1990s was the splitting of CD players into separate transports and processors. There were good reasons for this development, not the least of which was the flowering of creativity it engendered in high-end audio engineers. Having open access to the digital audio data also made possible effective digital equalizers and room-correction processors, but in the rush to increase a system's component count, it was overlooked for too long that keeping everything in one box offered certain advantages.
For Listening #5, Art Dudley tackles audio moderation, Lowther Land, and the audio puritans spying on the nudists next door. AD also explains the statement, "Just because I have a job in the lunch line doesn't mean I have to keep serving the kid who shows off for his friends by spitting out his food."
The music industry repeatedly points to online file trading as the explanation for its declining market. But annual sales are still well ahead of 1998's figures and several analysts note that when you take into account the economic downturn, increased competition for entertainment dollars, high CD pricing, uninspiring new music, and consumer resistance to copy protection, those negative numbers should really be far worse.
Music sales in the US continue to decline, according to a May 8 report from the National Association of Recording Merchandisers (NARM). Retails sales totaled $8.93 billion in 2002, down from the $10.46 billion reported for 2000. Most (87%) of the organization's members reported a drop in music sales last year—only 13% posted higher totals.
A ticket to Home Entertainment 2003—The Hi-Fi and Home Theater event, to be held June 5-8, 2003 at San Francisco's Westin–St. Francis Hotel will offer attendees a chance to hear over a dozen live musical performances from great artists performing contemporary jazz, blues, rock, and classical music.
Moderation, like a natural death, is what most thinking people roll toward, if only because extremism requires too much energy: Extreme points of view are hard to hold without a certain amount of self-delusion, and the brighter you are, the harder your self-deluder has to work.
THE POLICE: Every Breath You Take: The Classics A&M Chronicles 069 493 607-2 (hybrid SACD/CD). 2003. The Police, Hugh Padgham, Laurie Latham, orig. prods.; Nigel Gray, Chris Gray, Hugh Padgham, Phil Nicolo, orig. engs.; David Tickle, Martin Pradler, 5.1 remixes (tracks 1-12); Bob Ludwig, 5.1 remixes (tracks 13-14) and SACD mastering; Bill Levenson, reissue supervision. A?D. TT: 59:43 Performance ***** Sonics ** to *****
You've got to give the audiophiles who post at the Audio Asylum online forum credit. Not only is AA one of the more informative and constructive audiophile communities, some of its members provide the audio industry much-needed feedback on how it's doing—for better or worse.