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In the responses to last week's poll, one reader stated: "It is easier to buy and sell through the Internet. Hi-Fi shops are obsolete."<P>Is this true, are Hi-Fi shops on the way out?

As further evidence that the American empire is on the decline, I submit the 8:00 set Friday night at the Blue Note on West 3rd Street in New York City, where three front-and-center tables of Europeans—twenty young to middle-aged, professional-looking men and women, who all seemed to be part of the same tour group—made more noise at a jazz club than I think I’ve ever witnessed. Shushing and shaming, from me and others in the audience, had but short-term impact; they’d quiet down for a few minutes and listen to the trio on the bandstand (more about them, in a moment), but then got back to the main business of yakking, chuckling, and generally treating the whole proceedings as the soundtrack to their merry Manhattan vacation and us poor jazz fans as mere props in the spectacle.

Among the most hallowed of my ten or so (the number varies) personal commandments of high-end audio is the following (to be uttered in sepulchral tones with deep humility):

A new year-long download promotion may spell the death knell for digital rights management (DRM). The Pepsi promotion, which will be formally announced during the Super Bowl on February 3, will advertise a possible one billion downloadable MP3 files, which will be available through Amazon.com's download service, which does not feature DRM. We have not been able to obtain a list of participating labels to date, but since EMI, UMG, and Hollywood Records already participate at Amazon's MP3 store, they're probably involved. Less certain are Sony BMG and Warner Music Group (WMG), who seem to be sticking as much at the 40&#162; per song (compared to 65&ndash;70&#162; from Amazon or 70&#162; from iTunes) offered by Pepsi as at the lack of DRM&mdash;although neither label has yet offered unprotected digital files.

Last week, we passed along some observations from Benchmark Media Systems' John Siau about iTunes forcing an unnecessary <A HREF="http://stereophile.com/news/120307samplerateconversion/">sample-rate conversion</A> in its 7.5 incarnation. We received a lot of mail on the subject during the week, including some helpful suggestions from Wavelength Audio's <A HREF="http://www.stereophile.com/interviews/196rankin">Gordon Rankin</A>, who has much experience designing <A HREF="http://www.stereophile.com/digitalprocessors/905listen">USB audio devices</A>.

To many audiophiles, the name Boston Acoustics is synonymous with mass-market budget loudspeakers. Although many of its products have offered good value for the money, Boston Acoustics has never been known for driving the envelope of high-priced loudspeaker design (footnote 1). The company has been content to churn out well-designed, affordable boxes and let others attempt state-of-the-art loudspeakers. Until now.

The acoustic environment for music reproduction is easily the most overlooked source of sonic degradation. Many fine playback systems are compromised by room-induced anomalies that severely color the reproduced sound. When we live in a world of directional wire, high-end AC power cords, and $4000 CD transports, paying attention to the listening room's contribution to the musical experience takes on greater urgency.