HTPCs are hot among home theater cognoscenti. Using a personal computer to anchor an audio/video system has boomed in recent years due to the availability of high quality video processing software, Dolby Digital and DTS decoding support, and DVD transports. HTPCs (<A HREF="http://www.guidetohometheater.com/news/11166/">home theater personal computers</A>) also thrive in part because of the tinkering gene shared by many enthusiasts.

In October 2000, during Napster's prolonged courtroom agony, <A HREF="http://www.bertelsmann.de">Bertelsmann AG</A> alienated fellow music industry plaintiffs by investing $50 million in a strategic partnership with the file-sharing upstart. At the time, Bertelsmann hoped to leverage Napster's technical expertise and fame to give Bertelsmann Music Group the inside track with Internet music distribution.

Only a month after being scrutinized by the Senate Commerce Committee, Clear Channel Communications may have to explain itself to the Senate Judiciary Committee.

Paul Bolin exclaims, "Looking at the current digital scene is enough to confuse and confound just about anyone this side of Stephen Hawking." Bolin's review of the <A HREF="http://www.stereophile.com//digitalsourcereviews/779/">Ayre Acoustics D-1x DVD-Video/CD player</A> is here to clear things up.

It's tough to know which CDs, SACDs, and DVD-Audio discs have been restricted through watermarks or other "copy protection" techniques. This has created a thriving underground community, with websites such as <A HREF="http://www.fatchucks.com">Fat Chuck's</A> devoted to sussing out the corrupted audio products and posting notification to consumers.

Copy protection efforts currently being initiated by national lawmakers at the behest of the entertainment industry are based on a model of Internet use that will soon become obsolete, according to Stanford law professor Lawrence Lessig.

Some people believe that high-end audio is mostly fluff whose cost, compared to standard professional studio electronics, is not justifiable. Moreover, they argue, if the music has been piped through any number of studio devices before it gets to your home, you can't expect to get more out of it than the studio devices will pass. Just as the argument is made about the final 6' of power cord, how can one Over-The-Top device make up for the foibles of those that precede it?

Some people believe that high-end audio is mostly fluff whose cost, compared to standard professional studio electronics, is not justifiable. Moreover, they argue, if the music has been piped through any number of studio devices before it gets to your home, you can't expect to get more out of it than the studio devices will pass. Just as the argument is made about the final 6' of power cord, how can one Over-The-Top device make up for the foibles of those that precede it?

Some people believe that high-end audio is mostly fluff whose cost, compared to standard professional studio electronics, is not justifiable. Moreover, they argue, if the music has been piped through any number of studio devices before it gets to your home, you can't expect to get more out of it than the studio devices will pass. Just as the argument is made about the final 6' of power cord, how can one Over-The-Top device make up for the foibles of those that precede it?