In the first set of prophecies, we foresaw the effects of DVD-Audio, high-end sales around the world, and tweak multidisc CD. For the second installment, we look into our crystal interconnects and foresee new audio data-distribution methods for the coming year.
Digital Versatile Disc (DVD)---the well-publicized successor to VHS tapes, compact discs (CDs), and CD-ROMs---will struggle in the video and music industries, but be a major success for the personal computer industry, according to a recent report from Forrester Research. The report concludes that PC manufacturers will rapidly embrace DVD, resulting in an installed base of 53 million DVD-equipped PCs by 2002.
It's been a tough couple of years for those who like to make digital copies of audio recordings. What started with SCMS copy-restriction schemes in DAT machines has quickly spilled over into current digital formats such as those proposed for DVD-Audio. But a glimmer of hope has shone through the haze.
Who wouldn't want to know what's in store for the extreme audio devotee? So we rolled a special set of aluminum Tiptoes, read the auspicious signs (you've got to understand how the tips point), and divined our first set of predictions. We'll have more next week, if the Mpingo dots line up just right.
It only makes sense. PBS, the most visible national broadcaster of classical-music-related programs, has decided to launch its own classical-music label. According to a recent story in Variety, several major record labels are competing for the rights to distribute the new label. It's common in the music business for larger labels to distribute smaller ones, and an association with the new PBS label is seen as a feather in the cap of whoever makes the deal.
When I first heard about "Records To Die For," I had to laugh. "Desert Island Discs," maybe, but Records To Die For? Laying down your life for a record? World-class hyperbole. Throw yourself on a sword for a glob of petrochemicals? Not me. If your house was burning down, would you a) grab your child, b) grab your photos and other irreplaceable items (cats, loved ones, etc.), or c) grab your records?
Records To Die For creates one of two problems for the Stereophile writer: either she can't come up with the names of two (or, in the case of new writers, five) recordings of world-class music in world-class stereo sound, or he comes up with so many his hard-drive crashes trying to narrow down the choices.
"I've got a great idea, RL," said John Atkinson to me one fine fall morning five years ago, as we relaxed over cappuccino and croissants in the slowly rotating editorial suite of the imposing Stereophile Tower that---surmounted by a heroic statue of J. Gordon Holt, thumb down, lip curled, great bronze cigarette glowing triode-red---rises like a Tube Trap of the Gods to dominate the downtown skyline of our round brown town of La Villa Real de la Santa Fe de San Francisco de Asis. In a paroxysm of the editorial euphoria that comes upon him when he suddenly envisions page after page of Stereophile copy which he himself does not have to write, JA then outlined for me the annual list of the Greatest Performances recorded in the Greatest Stereo Sound that has since become the "Records To Die For" we all love and hate---one of Stereophile's most entertaining, annoying, and downright fun features.
Here we go again---the usual Stereophile suspects rounding up some very unusual suspects of their own, and all collected in "Records To Die For," the highest annual concentration of surprising recommendations in the biz. Reviewers of wares soft and hard pick their absolute most favoritest recordings, each of which must be a) a topnotch performance in b) topnotch stereo sound. But be warned: some of us cheat (if we can get away with it).