Stereophile Staff  |  Nov 15, 1998  |  0 comments
Long the bane of finicky audiophiles, Consumer Reports magazine has been measuring just about anything sold in a store since 1936 in an effort to "test products, inform the public, and protect consumers." But when they get around to testing audio gear, the magazine's "lab" has become the target of many audio enthusiasts who don't share CR's views on how to tell good sound from bad. In fact, part of the problem is that CR often reports that sound quality is not always the final factor in rating a product, with concerns about reliablity, ease of use, and fit and finish often skewing results.
Barry Willis  |  Nov 14, 1998  |  0 comments
Billy Joel has decided to clean out his warehouse. Next month, the veteran rocker's almost-30-year-old collection of musical instruments, recording equipment, and stage gear will be put up for public auction by Sony Signatures, his merchandising company. A portion of the gross from the "Billy Joel Memorabilia Auction" will be donated to VH1's Save the Music Foundation, according to Dan Cooper, Senior Vice President of Sony Signatures' music division.
Barry Willis  |  Nov 14, 1998  |  0 comments
One might think that the publisher of "The Largest Marketplace in the World for Audiophile Equipment" would have a vested interest in encouraging trading activity among his readers. One would think that such a publisher might take a neutral stance regarding fluctuations in the world market for used equipment. One would think that he would credit his readers with sufficient intelligence to decide for themselves whether any specific purchase, sale, or trade was a good deal.
Richard Lehnert  |  Nov 10, 1998  |  First Published: Oct 10, 1987  |  0 comments
Caveat: This article is written by a non-audiophile. I own and listen to several thousand recordings through about $2500 worth of a rather motley assortment of audio components. Though very well informed musically, and a disciplined listener, Audiophilia remains for me a storied land. Various desultory discussions with Larry Archibald and John Atkinson, some going back almost two years, about the possibly refreshing, certainly outré (for these pages) outlook of a certified Audio Ignoramus, have finally borne astringent fruit in this diversion of an article.
Bard-Alan Finlan  |  Nov 09, 1998  |  89 comments

The technology exists to create high-end audio programming that could finally solve the problem audiophiles have had with FM radio for years. But would you be interested enough to buy the equipment and/or pay for the service?

Would you be interested in a high-end audio broadcast medium?
Very interested
31% (69 votes)
Moderately interested
19% (44 votes)
13% (29 votes)
Mildy bemused
14% (32 votes)
Not really interested
16% (36 votes)
Who cares?
7% (16 votes)
Total votes: 226
Jon Iverson  |  Nov 08, 1998  |  0 comments
MP3-formatted audio files are considered to be the most popular streaming technology on the Internet, but the major record labels have so far shunned the format, which doesn't offer as much security and pay-per-download options as they'd like. Several announcements last week coincided with the WebNoize conference in Los Angeles and revealed what a few of the labels are thinking.
Jon Iverson  |  Nov 08, 1998  |  0 comments
The WebNoize three-day conference took place last week in Los Angeles, mixing record-company executives with Internet geeks, all trying to find profitable ways to distribute music online. Tom Roli, publisher of the Webnoize website, set the tone for the event, stating that "the industry is facing great change and uncertainty due to emerging technologies, shifting global markets, and media revolutions."
Stereophile Staff  |  Nov 07, 1998  |  0 comments
Internet audio continues to expand. Last week, at the first WebNoize conference, held in Los Angeles, JamTV/Rolling Stone Network and RealNetworks, Inc. announced the debut of Rolling Stone Radio, a new Internet audio service offering music in several genres. Rock star David Bowie announced that he would serve as a disc jockey for the new venture. has also signed on to participate as a music retailer.
Barry Willis  |  Nov 07, 1998  |  0 comments
In the age before recordings, music was a service business. Composers wrote for their patrons, and musicians performed for money. In the days since Edison's inventions, music has become a commodity business in which record companies stockpile large inventories and attempt to move them into the market of music lovers through a dense network of distributors and retailers. For established artists, the service aspect of music---playing for pay---now exists primarily to support the commodity business. For developing artists, public performance is a form of self-promotion to aid the search for a recording contract.
John Atkinson  |  Nov 07, 1998  |  2 comments
This series of articles was initially written (in slightly different form), as a paper presented at the 103rd Audio Engineering Society Convention, New York, September 1997. The preprint, "Loudspeakers: What Measurements Can Tell Us—And What They Can't Tell Us!," AES Preprint 4608, is available from the AES, 60 East 42nd Street, Room 2520, New York, NY 10165-0075. The AES internet site, offers a secure transaction page for credit-card orders.