Over the past two decades, enough advances in the high-end audio industry have trickled down to aspiring audiophiles that we now enjoy a level of high-value, high-resolution performance that would have seemed unattainable even just a few years ago. Still, immersion in a profound musical experience remains an ephemeral goal to potential converts, given the level of expertise that seems necessary to assemble a truly audiophile set of separates.

Over the past two decades, enough advances in the high-end audio industry have trickled down to aspiring audiophiles that we now enjoy a level of high-value, high-resolution performance that would have seemed unattainable even just a few years ago. Still, immersion in a profound musical experience remains an ephemeral goal to potential converts, given the level of expertise that seems necessary to assemble a truly audiophile set of separates.

Over the past two decades, enough advances in the high-end audio industry have trickled down to aspiring audiophiles that we now enjoy a level of high-value, high-resolution performance that would have seemed unattainable even just a few years ago. Still, immersion in a profound musical experience remains an ephemeral goal to potential converts, given the level of expertise that seems necessary to assemble a truly audiophile set of separates.

Larry Greenhill writes: "I can't resist reading about a company's flagship loudspeaker&mdash;the price-no-object product that embodies the most advanced ideas from a company's research and design department . . . The cost? Don't ask." Six years in development, the <A HREF="http://www.stereophile.com//features/286/">Dynaudio Evidence loudspeaker</A> is just such a cutting-edge product. So, Greenhill explains, "when the opportunity arose to review the Evidence, the flagship speaker from Danish company Dynaudio, I eagerly agreed." His verdict awaits.

The Comdex trade show, taking place this week in Las Vegas, is flushing out scores of convergence consumer electronics products, in addition to the more traditional computer fare. <A HREF="http://www.apogeeddx.com">Apogee Technology</A>, formerly Apogee Acoustics, a name familiar to many <I>Stereophile</I> readers, is among the dozens of companies announcing technology for the modern consumer electronics marketplace.

For the music industry, copyright and royalty litigation is like an endless war fought on many fronts. During early November, as four of the industry's "Big Five" continued their pursuit of the file-sharing service Napster, a parallel trial in US Federal Court in New York against music archiving-and-accessing site <A HREF="http://www.mp3.com/">MP3.com</A&gt; by <A HREF="http://www.umusic.com/">Universal Music Group</A> entered its penalty phase, that segment of the proceeding in which aggrieved plaintiffs seek to extract money from guilty defendants. Other plaintiffs in the trial&mdash;Sony Music Entertainment, BMG, Warner Music, and EMI&mdash;have all settled with the San Diego-based Internet service for an average of $20 million each.

Two top executives at <A HREF="http://www.bmg.com/">Bertelsmann Music Group</A> will depart in the wake of the company's recent <A HREF="http://www.stereophile.com/news/10885/">settlement</A&gt; of its lawsuit against Napster. Citing irreconcilable differences with parent company Bertelsmann AG over company strategy, BMG chief executive Strauss Zelnick and chairman Michael Dornemann announced their resignations Sunday November 5.

When CDs were becoming popular, Neil Young made no secret of his disdain for the sound of digital. Interviews from the period quoted him as saying that the sound "left him cold," and he would rather listen to an LP, thank you very much. To this day, his new CD releases also appear on vinyl, but with the advent of DVD-Audio, sampling and quantization rates have improved&mdash;enough, apparently for Mr. Young's approval.