"DRM is a technical device, but it's being used in an all-embracing sense. It can't be circumvented for disabled access or preservation, and the technology doesn't expire (as traditional copyright does). In effect, it's overriding exceptions to copyright law,"said Lynne Brindley, chief executive of the British Library.
What I've been missing lately is music. And possibly alcohol, <a href="http://blog.stereophile.com/stephenmejias/091906reddening/">thinks Buddha</a>.
This just in: Jerome Harris dropped me a line announcing a concert tour with Bill Frisell, Jack DeJohnette, and Ben Surman. Unfortunately, it won't be playing anywhere <I>I</I> can go see them, but if you're lucky, you can catch one of these dates.
Ten years ago, John Horgan wrote <I>The End of Science</I>, arguing that scientists had already solved most of the big mysteries of the universe, Has a decade of scientific progress tempered that belief?
Bill Thompson explains how DRM supersedes copyright law and chills creativity.
Mark Mortimer's review of <I>Einstein and the Old One</I> makes an interesting point—just because we "know" stuff our ancestors didn't doesn't actually make us smarter. We "know" without comprehending.
We've received your feedback about the Sonos cover on the latest <I>Stereophile</I>. If you were in charge of the magazine and could put anything you wanted on its cover, what would it be?
On display in the <I>Hi-Fi News</I> Show ballroom were classic Lowther and Voigt drivers (bottom left is an AC mains-energized field-coil Voigt).
Perhaps the amplifier that had the most influence on modern tube-amp design was the D.T.N Williamson, shown here in an example made by Goodsell of Brighton.
On display in the ballroom at the <I>Hi-Fi News</I> Show: an original early-'50s Corner Ribbon speaker from the Acoustical Company, later to change its name to Quad.