Its imminent demise has been reported for months by a variety of sources, from major labels to consumers. Are the Compact Disc's commercial troubles a good or bad thing for audiophiles?
Jeff Joseph always causes a stir at <I>Stereophile</I>'s annual Home Entertainment Shows. No matter which speakers he exhibits, he invariably gets wonderful sound in his room. He's fooled more than one <I>Stereophile</I> writer who thought he was listening to Joseph's flagship Pearls when, behind a curtain, it was actually two of his in-wall models that were playing. And his competitors seem to envy his hi-fi show sound more each year.
When I unpacked the Rogue Audio Atlas, I didn't know how much it cost. After examining its chassis of high-grade steel, its silver-anodized aluminum faceplate, its sleek and slightly rounded edges, and, above all, its two chunk-o'brick transformers—for such a little thing (a foot-and-a-half square by half-a-foot high), it's heavy—I guessed around five grand. Then I called Rogue Audio and learned that it retails for $1395.
It must be difficult for makers of audio equipment to decide how to best exhibit their products at events such as the annual Consumer Electronics Show. If you're doing a demo, you want it to impress audio journalists and potential dealers, and sometimes just playing music is not enough: you need something extra. A few years ago, Joseph Audio put on a demo, supposedly of their top-of-the-line floorstanding speaker, during which Jeff Joseph removed a cloth that had been draped over what was assumed to be hotel-room furniture. Under that cloth were the speakers that were actually playing: Joseph's new in-wall model, mounted on flat baffles. Wilson Audio Specialties demonstrated their speakers with purportedly ultra-high-end electronics and digital source, then revealed that they were actually using a modestly priced preamp and power amp, and that the source was an Apple iPod.
Back in 2000, when Lyra introduced the Helikon moving-coil cartridge, which replaced the then six-year-old Clavis D.C., the company inexplicably retained the Clavis D.C.'s retail price of $2000. This was inexplicable because the Helikon's revolutionary design was new from the ground up, and because audiophiles—like most, if not all, consumers—perceive price to be a reflection of quality and performance.
Universal Music Group must be taking its name seriously these days. At a time when some proclaim the <A HREF="http://www.stereophile.com/news/031907premature">demise of the classical recording industry</A>, the conglomerate's many subsidiaries —Decca, Deutsche Grammophon, Philips, and Archiv, along with ECM, which has only a marketing and distribution arrangement with UMG —are embracing new projects on multiple continents with determination and optimism.
Over the last several weeks, one newspaper after another has made note of Nielsen Soundscan's 2006 point-of-purchase data, which showed classical record sales up 22.5%, making it the "fastest growing" category for the year. Hip-hop was down (-20.7%), R&B was down (-18.4%), alternative was down (-9.2%), jazz was down (-8.3%)—soundtracks were up (+19%), but everybody dismissed that, attributing it to the dominance of a single title, <I>High School Musical</I>.
On March 2, the Copyright Royalty Board (CRB) published a <A HREF="http://www.loc.gov/crb/proceedings/2005-1/rates-terms2005-1.pdf">"Deter… of Rates and Terms,"</A> which announced an artist and recording company royalty fee structure for Internet radio based upon a "per song" structure. As it so happens, that was the model proposed by <A HREF="http://www.soundexchange.com/">SoundExchange</A>, a digital fee collection agency founded by the Recording Industry Association of America (RIAA).
So I'm sitting in traffic on MOPAC, the north/south expressway in Austin, listening to Willie Nile sing "Streets of New York," a tune that can be thought of as his "Jungleland" from his latest album, <I>Streets of New York</I>, on the CD player of my rented Jeep Liberty.