Imagine that you are a Canadian with a mid-sized accounting business. You have tons of data to keep track of, and have found the recordable CD to be an excellent form of storage: convenient, reliable, and cheap---until New Year's Day, when the cost of blank discs suddenly doubled. You may not have the slightest interest in music, but one of your basic costs of doing business has just skyrocketed because someone, somewhere, has allegedly made an illegal copy of a commercial music CD.
What a year. Stereophile.com ran hundreds of stories in 1998, covering events big and small in the intersecting realms of business, publishing, technology, and music---with some irresistible oddities thrown in here and there as journalistic spice. It's overwhelming to look back over Stereophile's first full year of online publishing and see exactly how much has happened. We've gone far, and sometimes wide, to bring you the news from an audiophile perspective.
Really Big Hi-Fi came to live with me for a couple of months this past spring in the form of a pair of Tannoy Churchill loudspeakers. They were trucked directly to San Rafael, California from Kitchener, Ontario, in flight cases so bulky they could double as coffins for NFL offensive linemen. Once ensconced chez moi, the Tannoy dreadnoughts provoked bewilderment, alarm, curiosity, envy, admiration, awe, and amazement in all who heard and saw them.
Internet traffic doubles every 100 days, according to some statistics. This growth has been accompanied by an increase in the amount of online shopping---a phenomenon that has had a significant impact on retailers. Independent bookstores, for example, have been squeezed not only by the expansion of large-scale operations like Barnes & Noble, but also by the popularity of Internet discounters like Amazon.com and Borders.com. Online sales of recorded music by both record clubs and start-up resellers have put a dent in the bottom lines of many mass-market music stores---although not a huge one yet. The trend will certainly continue.
Among loudspeaker designers, Franco Serblin enjoys an enviable reputation for beautiful creations and meticulous craftsmanship. Until recently, Sonus Faber's resident genius had confined himself to minimonitors with simple crossover networks, such as the Concerto, a Stereophile Class B Recommended Component.
Four years after its first unsuccessful foray into the American consumer marketplace, Sony's MiniDisc appears finally to be winning serious numbers of converts. Several large-scale retailers, including Best Buy, Circuit City, Service Merchandise, and (soon) Sears department stores, have dedicated MiniDisc displays, with home recorders, portable players, and blank discs available individually or as a package deal. The displays were built with Sony's support, according to Mike Viken, senior VP for Sony's personal audio/video marketing division.
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.
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.
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.