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Do you suffer socially because of your audio obsession?

One would think that the Internet was growing crowded with online music retailers such as CDnow/N2K, Amazon.com, EveryCD, and Tower Records, just to name a few, all hustling CDs. But the lure of gold in them e-commerce hills is hard to resist. Last week, <A HREF="http://barnesandnoble.com">barnesandnoble.com</A&gt; jumped into the fray and announced the launch of its own Music Store, featuring what the company describes as the first "online classical music superstore." Notably late to market with its online bookselling franchise, barnesandnoble.com hopes to gain ground against arch-rival Amazon.com by expanding beyond books and better focusing on niche markets.

Last week, the Secure Digital Music Initiative announced that it would allow free MP3 downloads to co-exist with new encrypted forms of digital music transmission. Despite this, widespread concern in corporate legal departments about copyright-violation liability has prompted software developers to come up with blocking techniques to prevent pirated music from entering company "Intranets."

Since the earliest days of stereo&mdash;the first experiments with more than single-channel sound happened back in the 1930s&mdash;recording and playback have been based on a horizontal model: left-center-right, left-rear, right-rear. "Laterality," as it's sometimes called, can be exploited very well in creating plausible sensations of spatial events, especially by film-industry sound engineers. The believable reproduction of music is considerably more problematic.

According to a recent report released by Information Technology researchers <A HREF="http://www.frost.com">Frost & Sullivan</A>, the world Internet audio market generated revenues totaling $42 million in 1998, which dwarfs the 1997 revenues by 1516%. The report predicts that this market will continue growing at a healthy rate, achieving an increase into the triple percentage digits by the end of 1999.

The patter of the snare drum began softly and I leaned forward in my seat. Avery Fisher Hall fell silent as Riccardo Muti led the New York Philharmonic in Ravel's <I>Bol&#233;ro</I>. Ravel once described this masterpiece as "lasting 17 minutes and consisting wholly of orchestral texture without music&mdash;of one long, very gradual crescendo." Though the hall was silent and expectant, the stage was packed with musicians waiting for...what? To gradually join in, one by one and layer by layer, to drive that gentle but relentlessly mounting crescendo. Ravel accomplished this by "having solo instruments play the melody...[then progressing] to groups" and finally "arranging the scoring so that the dynamics are self-regulating" (footnote 1). When the final, thunderous E-major chord stopped the piece by locking "all its harmonic gears," the hall erupted in ecstatic applause, and we all leapt to our feet.

One room at the 1999 CES in Las Vegas that knocked me for a loop was the Avalon/Class&#233; installation mentioned in my April show report. Class&#233; had just debuted the Omega preamp, the companion piece to the Omega amplifier I reviewed in March. It proved a very suave, musical, and high-performance marriage.