Okay, what does a turntable look like? Take your time&mdash;I'll wait. <I>Dum de dum de dum dum dum...</I> Oh, you're tired of this game already?

Okay, what does a turntable look like? Take your time&mdash;I'll wait. <I>Dum de dum de dum dum dum...</I> Oh, you're tired of this game already?

Okay, what does a turntable look like? Take your time&mdash;I'll wait. <I>Dum de dum de dum dum dum...</I> Oh, you're tired of this game already?

Okay, what does a turntable look like? Take your time&mdash;I'll wait. <I>Dum de dum de dum dum dum...</I> Oh, you're tired of this game already?

Attacking the compact disc has lately become almost a blood sport among audiophiles and audio writers. Not a month goes by that I don't read&mdash;often in <I>Stereophile</I>&mdash;some vehement statement about how CDs are a musical abomination.

Since March, Sony BMG has released "at least 10 commercial titles" employing XCP2 technology developed by UK-based antipiracy company <A HREF="http://www.first4internet.co.uk/">first4Internet</A&gt;. Sony BMG claims that the 10 titles represent "over one million units," but the company steadfastly refuses to specify which titles have XCP2.

<A HREF="http://www.soundsareactive.com/catalogue.php?album=sub2005">Soundsareac…;, an eclectic independent label specializing in "jazz/improv, experimental hip-hop, and electronic artists," is offering a subscription package for its 2005 release schedule. For $35 (US price; the international price is $50), the label will send monthly downloadable MP3 (192kbps) releases for the rest of 2005, four "physical" CDs, and a "tour" DVD titled <I>XN+</I>.

Forget SACD vs DVD-Audio or even DualDisc. DRM, or digital rights management, has become the biggest audio format issue this year, and will likely continue to be for the next several years. At stake is the future of all consumer interactions with, and uses of, copyrighted digital media.

Telarc's stunning hybrid multichannel SACD of Jennifer Higdon's <I>City Scape</I> and <I>Concerto for Orchestra</I> has received the 2005 OutMusic Award for Outstanding New Instrumental Recording. The disc has also received the 2005 Grammy for Best Engineered Classical Recording (well-deserved by Jack Renner) and 2005 Grammy nomination for Best Orchestral Performance (equally well-deserved by Higdon champion Robert Spano and the Atlanta Symphony Orchestra).