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Judging from the e-mails we get, some folks wonder why <I>Stereophile</I>'s website continues to cover the advance of such lo-fi formats as MP3 as well as the problems encountered by companies like Napster as they tangle with the music business. But consider this: a new study reports that the market for digital music players will grow to $6.4 billion in 2005&mdash;more than 34 times 1999 shipments&mdash;which is also nearly 80% of the $8 billion reported for sales of <I>all</I> audio products, including portables, from last year (see <A HREF="http://www.stereophile.com/news/10677/">previous article</A>).

It may come as a surprise to relative newcomers to the field of audio, but some loudspeaker manufacturers are manufacturers in only a limited sense. They buy drivers, off-the-shelf or custom-built, from companies like VIFA, SEAS, Focal, etc.; cabinets from a woodworking shop; and crossovers from an electronics subcontractor. While the system design will have taken place in-house, actual manufacturing is restricted to assembling the components, perhaps tweaking the crossover, and final QC. Even some highly successful loudspeaker manufacturers use this approach, which can work well as long as the suppliers do their jobs properly.

Whenever a new format rolls out, there's always the fear among manufacturers that consumers will stop buying current models while waiting to see what happens with the new ones. Is this true for SACD and DVD-Audio?

While Thiel Audio is primarily known for highly refined floorstanding speakers, John Atkinson thought it might be a good idea to give the stand-mounted <A HREF="http://www.stereophile.com//loudspeakerreviews/243/">Thiel PCS loudspeaker</A> a spin. In doing so, he confirmed, once again, that wire is not wire when it comes to speaker cables. But what of the speaker? JA's conclusions may surprise a few audiophiles.

Back when DVD players were first released in the US, <A HREF="http://www.classicrecs.com/">Classic Records</A> was among the first companies to exploit the fact that early machines, though intended for the video enthusiast, could play a 24-bit/96kHz audio recording as well as movies (see <A HREF="http://www.stereophile.com/news/10072/">previous story</A>). These early high-resolution discs, which Classic called DADs, were intended to hold us over until DVD-Audio (then thought to be just around the corner) would finally hit the market. More than two years later we're still waiting for DVD-A, but Classic intends to be ready when it finally appears.

The demise of Apogee Acousitics three years ago was one of high-end audio's biggest losses. The company's ribbon loudspeakers were among the best-sounding and best-looking high-fidelity products ever made. What remained of Apogee was picked up by a/d/s/, which at the time made a commitment to supply parts and service for the thousands of speakers in use, but that plan appears to have been abandoned shortly after it was announced. Apogee owners have since had to fend for themselves.

For months now, the music industry has concentrated all its legal firepower on <A HREF="http://www.napster.com/">Napster</A&gt;, the Silicon Valley&ndash;based software company that lets users share music; and against San Diego's <A HREF="http://www.mp3.com/">MP3.com</A&gt;, which lets users upload their music to a central server and then access it from any Internet-connected computer. As of the end of June, it appears that MP3.com will likely be co-opted by the industry's Big Five until it is no longer a threat&mdash;two of the major labels have already settled with the startup&mdash;but Napster will fight on.