|  Mar 14, 2005  |  0 comments
As the cost of data storage has continued to plunge, some industry pundits (well,'s Jon Iverson) have predicted that the next step in adding value to them would be to give the devices away, but sell the music or data they contain. On March 10, online music label Magnatune and Samsung spin-off Hana Micron fulfilled that prediction with a product called the TunePlug: It's a reusable USB flash memory drive that comes loaded with 10 complete albums from Magnatune artists in MP3 file format.
Jon Iverson  |  Mar 14, 2005  |  0 comments
Will the future of audio distribution be dominated by discs or downloads? Will we always have both?
John Atkinson  |  Mar 13, 2005  |  0 comments
Five years after the launch of the audiophile's dream medium, Super Audio CD, the format remains stalled in the market.
Wes Phillips  |  Mar 13, 2005  |  0 comments
The spirit moved upon the earth.
The rocks cra'ked asunder,
Darkness smote the light,
Seas boiled away with a thought,
And all life was extinguished.
Wes Phillips  |  Mar 07, 2005  |  0 comments
Researchers at the International Center for Hearing and Speech Research (ICHSR) have found that age-related hearing loss may be all (or at least mostly) in your head rather than a problem with your ears.
Wes Phillips  |  Mar 07, 2005  |  0 comments
As rules of thumb go, this one is pretty infallible: By the time we've heard about it, a trend's hippest participants will think it's on the decline. That means that mashups, or the manipulation of the musical genetic material of several different songs to create a new song, may be on their way out, because we've become infatuated with them.
Jon Iverson  |  Mar 07, 2005  |  0 comments
Depending on who you talk to, so far in the US, DualDisc has either been a success (according to the record labels) or a stumble (according to the press and manufacturers). Now Europe gets a chance to see what the fuss is all about.
Jonathan Scull  |  Mar 05, 2005  |  First Published: Jun 05, 1999  |  0 comments
Just what is the absolute sound, and how do you get there from here? What the heck are we looking for as we endure the mirth of others while purposefully setting up our high-end systems? Is it, indeed, the sanctified sound of acoustic instruments in real space? Can we ever really achieve that? Or is it the accurate realization of the signal on the master tape? Or—as was recently suggested at the New York Noise single-ended lovefest, covered in this issue's "Industry Update"—are some of us looking for the emotion and the artist's intent?