According to our year-end web metrics, it would appear that the magazine's online readers are interested in a different mix of products than its print readers. Do you look for the same or different types of reviews in our print and web products?
HD DVDs and Blu-Ray discs came to market with a digital rights management (DRM) content encryption system called <A HREF="http://www.aacsla.com/home">Advanced Access Content System (AACS)</A>. Supposedly, AACS was intended to permit greater flexibility than conventional DVD's Content Scrambling System (CSS) DRM, since it was touted as allowing purchasers, say, to load DVDs onto their media servers or burn downloaded HD purchases to disc.
Here at <I>Stereophile</I> we like to measure things. Part of that is because we <I>can</I>, of course—and that's another reason why we love the Internet. We have no way of knowing how many times our readers re-read certain articles, nor do we know how many different readers look at any given issue, but on the web, we can at least count the page views. Yes, we know that there are some uncertainties about that metric, too, but we <I>can</I> count it, so we do.
Except for Al Sharpton's shameless hogging of the spotlight, James Brown's funeral was quite a production. Televised live on NY1 (New York One), the local cable news channel, this extravaganza was held in the James Brown Arena in Augusta, Georgia.
"Fellas I'm ready to get up and do my thing. I want to get into it man, you know. Like a, like a sex machine man. Moving. Doing it you know. Can I count it off. One!! Two!! Three!!"—"Get Up (I feel like being a) Sex Machine."
"You want to review the MDA 1000 along with the <A HREF="http://www.stereophile.com/tubepoweramps/704mac/">MC 275</A> amplifier in the same column?" Ron Cornelius, product manager and field training manager of McIntosh Laboratory, was incredulous.
In some ways, building an inexpensive yet musical two-way loudspeaker is a greater design challenge than creating a cost-no-object reference product. Although the latter is a much more complex endeavor, the venerable two-way box seems to bring out the creativity and resources of the designer. Rather than throw money at the product in the form of more expensive drivers, enclosures, or components, the designer of a low-cost two-way is forced to go back to the basics, rethink closely-held tenets, and rely on ingenuity and sheer talent to squeeze the most music from a given cost. Consequently, the inexpensive two-way is the perfect vehicle for designers to develop their skills. If one has mastered this art form, one is much more likely to achieve success when more ambitious designs are attempted.
Some reviews seem ill-fated from the get-go: samples break; systems go wrong; test equipment gives anomalous measurements; and at times the reviewer starts to doubt his or her ears when it seems impossible to get the component being reviewed to sound anywhere as good as reported by other writers. Such was the case with this review of the Celestion 3000. When Celestion's Barry Fox visited Santa Fe three days before Christmas 1989 with early samples of the speaker, we were dismayed to find that the ribbon of one of the pair was crinkled and immobile, apparently due to the extruded-aluminum magnet frame warping in transit. Fortunately, Barry had brought a spare tweeter with him, to show how it worked, so we replaced the broken one in order to do some listening.
As I write this, I am recuperating from four days of frenzy at the 1986 Winter CES in Las Vegas, Nevada. I am also pondering why I was so unexcited by most of what I saw and heard of the high-end exhibits; high-end audio may have reached a developmental plateau of sorts.
Princeton has published its 2006 60 images that best represent accomplishments and concepts of science.