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A group of researchers has claimed success at cracking four digital audio watermarking technologies presented in a challenge by the <A HREF="http://www.sdmi.org/">Secure Digital Music Initiative</A> in September. The claim has been denied by David Leibowitz, chairman of <A HREF="http://www.verance.com/">Verance Corporation</A>, creator of one of the challenged watermarks. SDMI has made no public statement on the claim, and has resolved to remain silent until all 447 submitted hacks are evaluated.

John Atkinson points out that "a much-touted benefit of DVD-Audio and Super Audio CD is that these new media can store digital audio data extending one or more octaves higher in frequency response than the capabilities of the CD." But is this a difference that makes a difference? Atkinson examines the mounting pile of data in <A HREF="http://www.stereophile.com//features/282/">What's Going On Up There?</A> Is there recorded life above 20k? The answer may surprise you.

Artists' groups are celebrating what they hope will be more than a symbolic victory over the recording industry in the wake of legislation signed by President Clinton the last week of October. Known as "The Works Made for Hire and Copyright Corrections Act," the repeal negates a provision that was inserted into last year's "Satellite Home Viewer Act" at the insistence of the <A HREF="http://www.riaa.com/">Recording Industry Association of America</A>, designating musical recordings as "works for hire." Such a designation catergorizes a musical recording as a commodity that can be purchased at a fixed price, such as a table built by a furniture craftsman, rather than as a performance subject to syndication and royalty fees.

I've long been a fan of Naim electronic gear, and have used it for many years. I also have admiration and respect for the company's uncompromisingly consistent and determinedly individualistic approach to the various tasks and problems of loudspeaker design. But my enthusiasm for Naim speakers has long been tempered by a feeling that mechanical aspects of the design are given priority over acoustics and styling.

With multichannel DVD-Audio and SACD discs close to reality, record companies can encode their discs in a variety of multichannel formats (see recent <A HREF="http://www.stereophile.com/shownews.cgi?849">Chesky interview</A>). Any preferences?

The online music world has been hit by one jolt after another as the record labels go after anyone they can slap with the "music pirate" label. In response, the e-sharks smell blood and are circling. Internet music-distribution company <A HREF="http://www.EMusic.com">EMusic</A&gt; sent out a press release recently making the assertion that "now that Napster and MP3.com are both on shaky legal ground, many downloadable-music fans are going to be looking for compelling, 'legitimate' alternatives."

It may still be a trickle, but at least a little music relief has reached the parched throats of audiophiles awaiting the arrival of DVD-Audio discs. Last week saw the <A HREF="http://www.stereophile.com/news/10867/">announcement</A&gt; that Aaron Neville's latest CD release will also hit stores as a multichannel DVD-A on Immergent Records on October 24. This week sees the announcement that another recording legend, Willie Nelson, will soon take the plunge.