Digital Versatile Disc (DVD)---the well-publicized successor to VHS tapes, compact discs (CDs), and CD-ROMs---will struggle in the video and music industries, but be a major success for the personal computer industry, according to a recent report from Forrester Research. The report concludes that PC manufacturers will rapidly embrace DVD, resulting in an installed base of 53 million DVD-equipped PCs by 2002.
It's been a tough couple of years for those who like to make digital copies of audio recordings. What started with SCMS copy-restriction schemes in DAT machines has quickly spilled over into current digital formats such as those proposed for DVD-Audio. But a glimmer of hope has shone through the haze.
Don Bouchard of Cello forwarded this e-mail to us, which outlines the new CE labeling requirements. These are so draconian that we felt the high-end audio community needs to be made aware of them!
Bits <I>vs</I> atoms! The new frontier of audio distribution is said to include downloading recordings over the internet onto a CD or DVD recorder for a modest fee. We'll assume for the moment that bandwidth has improved to the point where this is not a painful process, and data compression is not needed. But the question remains: Are you a collector who wants the original disc, or do you just want the music fast and cheap?
Who wouldn't want to know what's in store for the extreme audio devotee? So we rolled a special set of aluminum Tiptoes, read the auspicious signs (you've got to understand how the tips point), and divined our first set of predictions. We'll have more next week, if the Mpingo dots line up just right.
It only makes sense. <A HREF="http://www.pbs.org">PBS</A>, the most visible national broadcaster of classical-music-related programs, has decided to launch its own classical-music label. According to a recent story in <I>Variety</I>, several major record labels are competing for the rights to distribute the new label. It's common in the music business for larger labels to distribute smaller ones, and an association with the new PBS label is seen as a feather in the cap of whoever makes the deal.
<I>Twice a year, </I>Stereophile<I> brings some of its writers out to Santa Fe, New Mexico, to discuss the compilation of the magazine's "Recommended Components" listing, the most recent of which appeared in the October issue. Following a comment from Will Hammond, John Atkinson's collaborator on the <A HREF="http://www.stereophile.com//features/113/">recent amplifier blind listening tests</A>, that the magazine's readers would love to eavesdrop on the conversations that take place on these occasions, it seemed a good idea to tape (footnote 1) some of the discussions and publish the transcript as this month's "As We See It" (footnote 2). Accordingly, Lewis Lipnick, Gary A. Galo, Robert Harley, Thomas J. Norton, Guy Lemcoe, Richard Lehnert, Dick Olsher, Peter Mitchell, Robert Deutsch, J. Gordon Holt, Larry Greenhill, John Atkinson, and Arnis Balgalvis all gathered in LA's palatial listening room one August Saturday. JA set the ball rolling by asking the assembled writers where they thought </I>Stereophile<I> had been, where it was, and where they thought it </I>should<I> be going, particularly in view of Robert Harley joining the magazine as Technical Editor.</I>
When I first heard about "Records To Die For," I had to laugh. "Desert Island Discs," maybe, but Records To Die For? Laying down your life for a record? World-class hyperbole. Throw yourself on a sword for a glob of petrochemicals? Not me. If your house was burning down, would you a) grab your child, b) grab your photos and other irreplaceable items (cats, loved ones, etc.), or c) grab your records?