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Another Indie Label Goes the Download Route

Canada has targeted your iPod and hard drive. On March 7, CBC Records, the record label of the Canadian Broadcasting Corporation, announced a deal with the Independent Online Distribution Alliance (IODAhttp://www.iodalliance.com">IODA;) that will make CBC's entire catalog of 400 active and archival classical, jazz, world, and rock titles available for download. The announcement comes just six weeks after major independent label and distributor Harmonia Mundi declared that it would follow">http://www.stereophile.com/news/012907harm/">follow the same route.


Aperion University

On a recent tour of Manhattan, Aperion Audio's Win Jeanfreau and Lorraine Janeway took some time to lunch with Stereophile's Stephen Mejias, Robert J. Reina, and me. Reina had just reviewed the $750/pair Aperion Intimus 533-T loudspeakers in the April Stereophile, so we assumed that would be the main topic of conversation. As far as Jeanfreau and Janeway were concerned, however, that was ancient history. They were excited about more recent developments and future plans.


Universal Music Group Rediscovers Music

Universal Music Group must be taking its name seriously these days. At a time when some proclaim the demise">http://www.stereophile.com/news/031907premature">demise of the classical recording industry, the conglomerate's many subsidiaries —Decca, Deutsche Grammophon, Philips, and Archiv, along with ECM, which has only a marketing and distribution arrangement with UMG —are embracing new projects on multiple continents with determination and optimism.


Internet Radio Buh-Bye?

On March 2, the Copyright Royalty Board (CRB) published a "Determination">http://www.loc.gov/crb/proceedings/2005-1/rates-terms2005-1.pdf">"Deter… of Rates and Terms," which announced an artist and recording company royalty fee structure for Internet radio based upon a "per song" structure. As it so happens, that was the model proposed by SoundExchangehttp://www.soundexchange.com/">SoundExchange;, a digital fee collection agency founded by the Recording Industry Association of America (RIAA).


Were Reports of Classical's Death Premature?

Over the last several weeks, one newspaper after another has made note of Nielsen Soundscan's 2006 point-of-purchase data, which showed classical record sales up 22.5%, making it the "fastest growing" category for the year. Hip-hop was down (-20.7%), R&B was down (-18.4%), alternative was down (-9.2%), jazz was down (-8.3%)—soundtracks were up (+19%), but everybody dismissed that, attributing it to the dominance of a single title, High School Musical.


The Nerve!

(This article has been edited to reflect factual changes and comments from our learned colleague, Dr. Kalman Rubinson, Associate Professor at NYU's Department of Physiology and Neuroscience, who is careful to point out that he is commenting, not on the research, which he has not read, but only Heimburg's and Jackson's criticisms of current understanding and terminology—areas with which he has more than a passing acquaintance.)


Industry Update

Wireworld: Wireworld has "completely redesigned" its Series 52 (pronounced "five squared") audio cables. Chief engineer David Salz says they deliver the "highest fidelity the company has ever offered."


The Return of Orion Classics

Marquis">http://www.marquisclassics.com">Marquis Classics, a Toronto-based CD label specializing in classical, jazz, world, and crossover recordings, recently issued its second batch of "Orion">http://www.marquisclassics.com/orion.html">Orion Master Recordings." Drawn from the large classical catalog of the defunct Orion LP label, the CDs include prized rare recordings by Robert Silverman, Steven Staryk, Joel Krosnick, Leonid Kogan, and other fine artists.


Updating Two Classics

Audiophiles of a certain age may very well have first tasted high-end sound by way of Linn's 1972 Sondek">http://www.stereophile.com/turntables/1103linn/">Sondek LP12 turntable and/or Naim's 1982 Nait">http://www.stereophile.com/integratedamps/660/">Nait integrated amplifier. There aren't many audio manufacturers that have managed to keep components in production for 25 years (35 for the Linn), but the two venerable British designs have been continuously upgraded over their lives, keeping them competitive.


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