Register for free to join our community of investors and share your ideas. You will also get access to streaming quotes, interactive charts, trades, portfolio, live options flow and more tools.
Register for free to join our community of investors and share your ideas. You will also get access to streaming quotes, interactive charts, trades, portfolio, live options flow and more tools.
Score On China's Nuclear Power Play
Agustino Fontevecchia, 12.17.10, 12:00 PM ET
For many, the term nuclear power still calls to mind Three Mile Island and Chernobyl. Though both disasters occurred decades ago, the number of active reactors has been essentially frozen. Now, increasing power needs are ushering in a new era, with countries like China driving demand. The uranium market, stagnant since a steep drop in 2007, is picking up and companies tied to production and use of the material have been surging.
Investors had been further spooked by an explosive bubble in the uranium market, the metal used to fuel nuclear reactors. Spot prices, which had remained below $20 since Chernobyl, began an upward movement that in 2007 turned exponential. Fueled by financial speculation, prices went from about $70 a pound to over $135 by mid-year and then back down almost as quickly. Nick Carter of UxC Consulting explained that hedge funds and investors, buying into physical uranium, managed to inflate and pop a bubble which decimated investor confidence for years.
When, around mid June 2010, prices began to move up again, some feared it could be another bubble. The horrible correction suffered in 2007, though, seems to have put the market in its place. Fundamentals are the driving factor this time: supply is tight and demand is growing.
China currently has 11 active reactors, a drop in the ocean compared to the 104 in the U.S., according to the International Atomic Energy Agency (IAEA). Working toward a goal of increasing its nuclear power generation to 5% of its energy needs, from less than 2% currently, over the next decade, China has 20 reactors under construction and plans for an additional 120 in pipeline. State-owned enterprises China National Nuclear Corporation and China Guangdong Nuclear Power Corporation will be a big part of that, but UxC Consulting estimates China will need 50 to 60 million pounds of uranium per year. With the country only producing 2 million pounds, that leaves plenty of room for foreign suppliers to get in on the action.
In Pictures: Get Nuclear With Uranium Stocks
Looking to build stockpiles with prices low, the Chinese government has begun to accelerate its purchases in order to supply its growing needs ahead of the curve. They aren't the only ones. Higher commodity prices and pressure from climate change will likely cause a global move towards nuclear power. The IAEA has been upwardly revising its 2030 nuclear power growth projections and expects total nuclear capacity to more than double in the next 20 years. Factor in waning supplies from recycled Russian nuclear warheads, which make up a substantial portion of world uranium reserves, and there is a clear need for new supply.
One of the simplest ways for investors to tap into atomic power growth is through exchange traded funds. The Van Eck Nuclear ETF, holds shares of miners, generators, plant infrastructure and even uranium storage companies, with about 80% of its holdings in the U.S., China and Germany, has outperformed the S&P 500 by a little less than 15% since mid-September as prices moved up. Global X Funds recently released their Uranium ETF, highly concentrated in Canada, one of the world's prime mining destinations. In its prospectus, Global X Funds explains that one pound of uranium can produce more energy than 20,000 pounds of coal with a fraction of the carbon footprint.
Uranium miners provide a more direct exposure to rising prices of the commodity, and the bigggest is Cameco Corporation. The world's largest uranium producer claims to be responsible for 16% of the world's production, mainly from its mines in Canada and the U.S. The Saskatchewan-based company expanded production by 17% in the third quarter and is on track to double that by 2018. Its stock has been hitting fresh two-year highs since November, but there's room for more with uranium prices far below peak levels.
Another interesting alternative is Uranium Energy, the newest member of the producer's club. Amir Adnani, the miner's CEO, recently told the Wall Street Journal that "China's not even taking a breather in constructing reactors…they are starting to prove everyone that they are quite serious about creating a nuclear fleet," and his company plans to take advantage of it. Uranium Energy, which will be installed in the S&P/TSX Mining Index Dec. 20, will reap the benefits of its huge database of historic uranium exploration and production in Wyoming and Texas, along with its properties in Saskatchewan, Canada.
http://www.forbes.com/2010/12/17/uranium-miners-cameco-markets-equities-exelon.html?partner=yahootix
'Watney99'-I have some shares and think this company is building a great business. Slow but sure. I have no insight on the recent drop except to note alot of small caps have gone down.you can probably get a better insight from some of the regulars on the other boards. Take care, culater
Watney99-besides the raging bull and agora sites here is another discussion site:
http://xybernaut.proboards2.com/index.cgi?board=general
regards, culater
AMD Buys Into Patriot's Patent
By Michael Singer
February 22, 2005
AMD (Quote, Chart) skirted a potentially nasty patent lawsuit with a stock purchase and licensing agreement from Patriot Scientific (Quote, Chart).
The No. 2 chipmaker confirmed today that it bought restricted shares of Patriot stock, obtained rights to make and sell Patriot's IGNITE 32-bit stack microprocessor and obtained rights to the controversial ''ShBoom'' microprocessor patent portfolio in its entirety.
Additional terms of the agreements are being kept under wraps, but AMD spokesman Robert Keosheyan told internetnews.com that ultimately, the deal allows AMD to protect itself from Intel.
''This patent portfolio has been the source of some significant litigation,'' Keosheyan said. ''Licensing the technology protects us and ensures our customers won't get sued. Purchasing of the stock basically ensures our voting rights in proxy if it is ever challenged.''
The controversy centers on U.S. Patent number 5,809,336, an on-chip clocking technology found in Intel Pentium processors. Patriot Scientific, a small, San Diego-based seller of embedded microprocessors for cars and scientific equipment claims it owns the patent and sued Intel (Quote, Chart) and its Japanese partners Sony, Fujitu, Matsushita, Toshiba, and NEC last year. Patriot then turned around and put an additional 170 chipmakers and vendors on notice that they too may be liable for the patent.
Keosheyan said AMD was one of the companies put on notice but does not use the technology in any of its products and has no immediate plans to use it.
''The license allows us to change that if it becomes desirable,'' he said.
All litigation is on hold while Judge Jeremy Fogel with the U.S. District Court in San Jose, Calif. rules on the 100 percent ownership of the 336 patent and what can be submitted for discovery, Patriot Scientific spokesman Lowell Giffhorn told internetnews.com.
Bruce Sunstein, co-founder of Boston-based IP law firm Bromberg and Sunstein said the mere fact that AMD is willing to license and invest in Patriot could signify just enough that the patents are valid.
''My guess is that there could be some 'there' there,'' Sustein said. ''AMD thought enough about the portfolio because they thought it would succeed. They would probably rather an expense of a license to show up on their balance sheet as an investment rather than a license payout.''
Sustein also noted that AMD is no friend of Intel and by helping the Patriot people, they could make life more difficult for Intel.
Additional terms of the agreement between Patriot and AMD are expected to surface once the company files its related 8K with the SEC
http://www.internetnews.com/ent-news/article.php/3484926
KLM to Offer Revolutionary In-Flight Entertainment Via APS; digEplayer Provides up to 64 Feature Length Movies For Passengers
WAEA
TACOMA, Wash.--(BUSINESS WIRE)--Sept. 17, 2004--APS of Tacoma, Wash., is pleased to announce that KLM Royal Dutch Airlines is bringing their unique, in-flight personal entertainment product to its travelers throughout destinations in Europe. The digEplayer(TM) is the world's first completely self-contained, portable video on demand entertainment unit preprogrammed with over 64 movies, as well as television shows, cartoons, videos and music choices.
KLM will initially make the units available on flights in Europe. The digEplayer will be used in their first class cabins on their 737's to start.
Content will be refreshed every 60 days, giving even the most frequent flyers enough programming variety to meet their needs. DreamWorks SKG, Buena Vista, Warner Bros. and 20th Century Fox currently have content provision agreements with APS, and additional studios are to be announced. Films in both English and French are made available one month ahead of store rentals. Initial titles available include Troy, Master and Commander, Friends, and The Simpsons.
Each APS digEplayer(TM) VOD unit is about the same weight and size of a typical portable DVD player. Units contain a 40-gigabyte hard drive and utilize the latest technology licensed from e.Digital Corp (O/S and engineering), DivX (compression) and DRM (security).
About APS
APS is a privately held company based in Tacoma, Wash., which for the airline industry. The digEplayer 5500 (TM) is an example of the industry-changing products developed by APS as the company looks into the future of the transportation and leisure industries.
The company will be featuring KLM and ten other world airline customers for the digEplayer at the upcoming WAEA show on September 20 to 25th.
http://home.businesswire.com/portal/site/google/index.jsp?ndmViewId=news_view&newsId=20040917005...
culater
OT-lol-If you don' want IFE-JetBlue and Crunch Fitness Add a New Twist to Travel with `Flying Pilates'
Wednesday March 31, 2:15 pm ET
Low-fare Carrier Invites Customers to Relax, Stretch and Breathe http://biz.yahoo.com/pz/040331/55138.html
Microsoft: Europe "iPod killer" debut in 2H 2004
Wednesday March 17, 6:59 pm ET
By Bernhard Warner
LONDON, March 18 (Reuters) - The first handheld gadgets to play music and movies on Microsoft Corp.'s (NasdaqNM:MSFT - News) "iPod killer" software will be available in Europe in the second half of 2004, the world's largest software company said on Thursday.
ADVERTISEMENT
The gadgets will run on Microsoft's yet-to-be-unveiled Portable Media Center software in a direct assault on iPod, Apple Computer Inc.'s (NasdaqNM:AAPL - News) hot-selling digital music player.
Working with a host of manufacturing partners, Microsoft is introducing a device that plays movies and stores digital photos as well as songs in a bid to grab a share of the fast-growing digital media player market.
"We think this is going to be one of the hot devices for Christmas 2004," said James Bernard, product manager for Portable Media Center.
The U.S. software giant has enlisted Creative Technology Ltd. (SES:CREA.SI - News) and Korea's Reigncom Ltd's (KOSDAQ:060570.KQ - News) iRiver International unit to develop devices for the European market.
Microsoft said the Creative devices will be available in Sweden, the United Kingdom and Denmark first, retailing for between 550 euros and 599 euros ($678.50-$738.90) and 399 pounds and 449 pounds ($724-$814.70).
The product will be available in Germany, France, Italy and Spain to follow, but also by year-end, Microsoft said.
Price details and retail launch dates were not available for the iRiver device.
FATTER THAN THE IPOD
The Creative players will be sold with 20 gigabytes or 40 gigabytes of storage capacity, the latter would provide 175 hours of video playback or 10,000 songs, Microsoft said.
The devices play MP3 files as well as audio and video content recorded in Microsoft's digital format. The devices run on the Windows CE operating system.
The Creative player weighs in at 330 grams (11.5 ounces) -- roughly three times as thick as an iPod and roughly twice as long to accommodate its television-quality colour screen. It has a USB port and comes with audio and video outputs cable to play media on a television or stereo hi-fi.
Microsoft will be up against Paris-based Archos Inc., one of the earliest entrants in the multi-media player market, and Dell Inc. (NasdaqNM:DELL - News) to grab a piece of a market that some analysts predict will not take off for a few more years when consumers become more accustomed to saving video content on their PCs.
"I don't think these devices will be changing the consumer electronics landscape in any way this year. By definition, they just don't have widespread appeal," said Mark Mulligan, an analyst with Jupiter Research in London.
But longer term, Microsoft is betting heavily on its strategy to create devices that plug into their computers from which they can store and access all their entertainment content.
Microsoft's Bernard envisaged a scenario where the owner of a Portable Media Center gadget would be able to store hours of their favourite music and movies on the device. They could then download from a news-oriented Web site a round-up of the day's news to watch on the train.
To that end, Microsoft is busy assembling media partners to provide content including movies, music videos and news. It has signed up music label EMI (London:EMI.L - News) and digital music outfit Napster (NasdaqNM:ROXI - News).
Bernard said more media alliances will be announced closer to the launch date
culater
NIZ-click on the sentence under the "Planning note" on rstring's link:
http://www.samsung.com/DigitAll/GlobalExhibition/Exhibition/ICES2004/ppk/YH999/ppk_YH999_over.htm
You get a Macromedia Flash question and answer session-hit "next" a few times-it talks about "camcorder function",etc.
culater
PC, consumer engineers play different tunes on road to wireless music
By Rick Merritt, EE Times
December 11, 2003 (10:17 a.m. EST)
URL: http://www.eetimes.com/story/OEG20031211S0019
SAN JOSE, Calif. — PC and consumer engineers are taking separate paths to audio over Bluetooth, raising the possibility of incompatible wireless MP3 players, headsets and speakers. Word of the split comes as Bluetooth is gaining traction in its core market of cellular handsets and marshalling its forces for a next-generation spec that could deliver megabit data rates and multimedia capabilities.
A handful of top consumer companies, including Matsushita, Philips, Sony and Toshiba, have defined in a Bluetooth Special Interest Group working group a low cost means for streaming audio to Bluetooth headsets with plans to roll out products in 2004. For its part, Microsoft and a group of unnamed OEMs are hammering out a different approach to implement on the PC based on Internet Protocol over Bluetooth.
"We may see multiple standards existing," said J. Eric Janson, vice president of marketing for Cambridge Silicon Radio (CSR, Cambridge, England), one of the top Bluetooth chip suppliers. "I'd sooner everyone go in one direction so we can optimize around that and take the cost out of it, but I'm not sure that's realistic at this point," Janson added.
In contrast to Microsoft's IP approach, the SIG's consumer audio/video working group has defined a mechanism for streaming audio over Bluetooth using the Real Time Protocol defined by the Internet Engineering Task Force.
"At this point there is a controversy as to whether IP is cost effective for simple devices like headphones. So far we haven't found a need for an IP address on such devices," said Tsuyoshi Okada, a staff engineer in the wireless group at Matsushita Electric Industrial Co. Ltd. (Osaka).
Matsushita and other companies in the SIG's A/V working group are preparing MP3 players, headsets and speakers using the current 723 Kbit/s Bluetooth version 1.2 spec and an advanced audio distribution profile (A2DP) defined by the SIG in May. Some of the companies are in talks with Microsoft to find ways to bridge the two efforts.
"We want to make sure our headsets interoperate with PCs," said Okada.
The issue for Microsoft is audio quality, particularly in an environment where there might be multiple Bluetooth devices. Wireless keyboards, mice and other 2.4 GHz devices could generate interference that could result in crackling speakers when PCs stream audio over Bluetooth. A2DP is essentially a point-to-point spec that doesn't take that scenario into account, said Mike Foley, a wireless architect at Microsoft.
"We're working with OEMs to come up with a solution...it's a very important issue," Foley said.
It's not clear whether the PC effort is part of an existing personal-area network group in the SIG or a separate ad hoc collaboration often favored by Microsoft. Foley would not name companies involved in the effort or say when the work will be finished.
"There are a lot of consumer companies that want to get products out, and if they wait for Microsoft it will delay them," said Jennifer Bray who tracks standards for CSR.
Microsoft elected not ship native support for Bluetooth in its Windows XP, though the company did ship in September an add-on pack with a Bluetooth application programming interface. Going forward, the company has kicked off an effort to define an umbrella set of APIs under its Winsock framework. Under the framework, that will probably be built into Longhorn, the next generation of Windows, developers would write to Winsock and Windows would determine what services are passed over what networks.
Apple Computer has taken a different approach, building Bluetooth support into its OS X and into its current series of Powerbook notebooks. David Russell, director of product marketing for wireless and notebooks at Apple, made a pitch to developers at the Bluetooth Americas conference here Wednesday (Dec. 10) to accelerate adoption by making Bluetooth easier to set up and use.
Russell would not comment on widespread reports at the conference that the next version of Apple's iPod MP3 player will use Bluetooth. He poured cold water on the idea of using Bluetooth to download music to the device that currently uses USB or Firewire interfaces for that function.
At the conference, consumer audio devices were seen as the next likely target for Bluetooth, for which some 75 million chip sets will ship this year, mostly for GSM phones in Europe and Asia.
In separate presentations, chip and software vendors indicated several challenges to delivering music over Bluetooth. Systems will need sub-band coding to efficiently move MP3, Windows Media or other codec files in a simple way to a headset or speaker. Headsets should have 80 milliseconds or less latency to stay in synch with video from a TV. A Broadcom manager said upcoming megabit versions of Bluetooth will be required to eliminate the need in wireless headsets for large and expensive buffers.
Janson of CSR noted that vendors also will have to work out ways to protect copyright for wireless music traveling between a device and a headset, another thorny issue.
The audio debate comes as the Bluetooth SIG is setting up a new road map committee to provide broad market input on directions and timing for the next revs of the short range wireless link. The committee could help the SIG get under control an expanding list of applications and software profiles to go with them as well as proposals for low- and high-end versions of spec that could clash with 802.11, ultrawideband and Zigbee networks.
"The SIG has become a dumping ground for profiles," said Seamus McAteer, an analyst with Zelos Group (San Francisco) who follows Bluetooth.
The SIG has already queued up work on a number of advancements for the technology that could be in a next major release of Bluetooth.
http://www.eet.com/sys/news/OEG20031211S0019
culater
Hard disks go home
Dec 4th 2003
From The Economist print edition
Consumer electronics: Hard disks are starting to appear in household devices, from televisions to stereos, adding novel features and making possible new products
GOING on a long trip? Desperately afraid of boredom, or silence? Help is at hand. You can now cram 2,000 hours of music—enough for around 120 versions of Wagner's “Ring” cycle—into a device the size of a deck of cards, or squeeze ten hours of video (enough for three or four movies) inside a video player the size of a paperback book. Or perhaps you are stuck at home and want to watch a football game, while simultaneously recording a film and your favourite sitcom on different channels (just to arm yourself against any possibility of boredom in the future). You can do that, too. This is all made possible by a technology normally thought of as part of a personal computer, but now finding its way into a growing range of consumer-electronics devices: the hard-disk drive.
Hard disks have several advantages over other storage media. Unlike the tapes used in video-recorders and camcorders, they do not need to be wound or rewound; disks are “random-access” devices which allow instant jumps from one place to another. Better still, they can also store and fetch more than one stream of data at once, for example to record one TV programme while playing back another.
In some kinds of devices, hard disks also have the edge over solid-state storage media, such as the memory cards used in digital cameras and music players. While hard disks are larger and require more power, they offer far higher capacity—measured in billions of bytes (gigabytes) rather than millions (megabytes)—and at a far lower cost per byte. By and large, hard disks are not used in digital cameras, where small size and long battery life is important, and memory cards are sufficient to store hundreds of images. To some degree the same is true in portable music players as well, but here hard disks can offer more benefit, holding thousands rather than dozens of individual tracks. That is why Apple chose a tiny hard disk for its popular iPod player.
The number of consumer-electronics devices containing hard disks is growing fast, according to figures from InStat/MDR, a market-research company. Around 9m such devices were sold in 2002, and the figure is expected to grow to around 17m this year, and reach nearly 90m by 2007 (see chart). As well as offering clever new features for consumers, this trend presents a valuable opportunity for hard-disk makers, which have seen their sales stagnate as the number of PCs sold worldwide has flattened at around 150m units. No wonder they are now eyeing the consumer-electronics market: around 170m TVs, for example, are sold each year.
Hard drives are increasingly suitable for use in consumer-electronics devices as they become quieter, cheaper and more robust. Most important of all, they are also getting smaller: some of the biggest potential markets depend on tiny new hard drives that appeared on the market only this year. In short, the use of hard drives in consumer electronics is still at a very early stage. The potential, for both manufacturers and consumers, is vast.
How to save a sitcom
Perhaps the most dramatic example of the use of hard disks in consumer devices is the emerging market for digital video recorders (DVRs). Such devices, pioneered by companies such as TiVo Systems and ReplayTV, have spread most widely thanks to satellite television services such as Dish Network in America and Sky in Britain, both of which incorporate DVR technology into their set-top decoder boxes. DVRs use a hard disk to store video, much like a conventional video recorder, by recording shows at set times. But they may also allow viewers such novelties as pausing and rewinding live television broadcasts (handy for the snack-crazed or those with overactive telephones); recording more than one programme at a time; or recording one programme while playing back another. DVRs can even learn their users' preferences and record programmes accordingly, thus creating the equivalent of a personal TV channel. These are all feats that conventional video recorders cannot match.
There is still room for improvement, however. The typical set-top box with a hard drive has a mere 30 gigabytes of storage, equivalent to about ten hours of high-quality video, or 30 hours at lower quality. This capacity is even more limiting when you realise that unlike conventional video recorders, with tapes that can be popped out and stored, DVRs are impractical for long-term storage. Keep your favourite film on the hard drive, and there may not be enough room to record all your favourite programmes while you are away on holiday.
Originally, DVRs were built around fairly conventional hard-disk technology. But manufacturers now cater to the DVR market, for example with the recent creation of a standard “time limiting command”, which determines how hard drives handle error checking. Hard drives in PCs are constantly checking and rechecking to make sure they don't lose any data, because a single bit out of place can corrupt an entire document or piece of software. Such fastidious error-checking is not so vital when recording streams of video, where fast and smooth playback is important, and a few lost bits won't affect the image quality. The big hard-drive makers each once had their own approach to time limiting, but they have now agreed on a single standard, which will make it easier for consumer-electronics firms to design new products.
DVRs are still a nascent technology, with perhaps 2m sold worldwide, so many consumers, even in the rich world, have yet to see one in action. But those who have had this pleasure almost never want to go back to watching conventional television. Michael Powell, America's communications regulator, famously described TiVo as “God's machine”. One problem is that consumers often do not understand what they will gain from a DVR until they have used one, so educating the market will take time. DVRs have, however, featured in the plots of sitcoms such as “Sex and the City”, which is a sure sign of their cultural potency.
One thing that might help to spread the word about DVRs is the emergence of handheld video players that use hard drives for storing programmes, such as the Archos AV, which can store up to 80 hours of video using the new MPEG4 compression algorithm, and the RCA Lyra. These devices could provide “TiVo to go”, by recording programmes so they can be watched while on the road, and demonstrating how hard disks can transform the experience of watching TV.
A whole new game
While TV presents a huge potential market for hard drives, you are currently more likely to find one inside a different box under the television: a games console. Microsoft's Xbox has a hard drive built in as standard, and a hard-disk attachment can be added to Sony's PlayStation 2. Its next-generation console, the PlayStation 3, will undoubtedly contain a hard drive when it is launched in 2005 or 2006. Since tens of millions of consoles are sold every year, the emergence of the hard disk as a standard component represents another opportunity for hard-disk makers.
But since games are supplied on DVD-like disks, why do consoles need a hard drive? With an Xbox connected to the internet via a broadband connection, “you can download new levels and new characters for your games,” enthuses Rob Pait of Seagate Technology, a hard-drive maker. Not everyone is convinced. “If he's doing that, he's an exception,” says Danielle Levitas of IDC, a market-research firm. Even publishers working closely with Microsoft on the Xbox have not, she says, figured out how to take advantage of the built-in hard disk: few of the 15m or so Xbox users are actually downloading things to their hard disks. Ms Levitas agrees that consumer-electronics devices will provide a huge new market for hard-disk makers, but notes that it is taking longer than expected.
A third product category where hard disks are making an impact is in portable music players. Hard disks are ideal for storing music, for while a 60-gigabyte drive can hold around 20 hours of high-quality video, it can hold more music than most people own. The best known example of a disk-based music player is Apple's iPod. But the hard drive faces far more competition in the portable music-player market than it does in set-top boxes or games consoles. Solid-state memory is far more durable than even the most shock-proof hard drive, and consumes less power. And while the cost per byte is much lower for hard disks, the smallest hard disk costs much more than a small (say, 64-megabyte) memory card. That means hard disks cannot compete at the price-sensitive lower end of the music-player market.
As a result, memory-based players outsold disk-based ones by 2.8m to 1m in 2002, according to IDC. The company predicts that by 2007, memory-based players will still be ahead, selling 8.2m units, compared with 4.8m disk-based players. And devices that play CDs or MiniDiscs will remain the dominant form of music player for some time, with a combined total of 24m units expected to be sold in 2007, according to IDC's forecasts.
Small is beautiful
The iPod is built around a particularly small hard disk, the spinning innards of which measure just 1.8 inches in diameter. Most consumer-electronics devices use 2.5-inch or 3.5-inch hard drives, just like laptop and desktop PCs. All of these sizes present an obvious limit: they are too big to fit in a mobile phone, or a small digital camera. But a new technology could carry hard drives into new markets, and help them win a bigger share of existing markets, such as that for music players. That technology is a new generation of 1-inch hard drives, such as Hitachi's Microdrive and a rival product from Cornice, a start-up based in Longmont, Colorado.
Cornice designed its hard drive from scratch, rather than simply scaling down an existing design. The first version of the Cornice drive only holds 1.5 gigabytes of data (compared with the 4-gigabyte capacity of Hitachi's forthcoming 1-inch drive, which is now being tested by several consumer-electronics firms). But it has already been incorporated into a dozen new products. Some are just smaller versions of existing products, such as RCA's Micro Lyra music player, which is about the size of a small bar of hotel soap. But some are in categories where hard drives have not previously been used. Perhaps the most notable example is the first disk-based camcorder, the Samsung ITCAM 7.
Kevin Magenis, the boss of Cornice, says hundreds of companies are designing products around his company's 1-inch drive, from slot machines to a portable karaoke player. Within five years, he claims, Cornice drives will be able to hold 15 gigabytes, expanding the potential market. As well as boosting the capacity of its existing drives, the company also plans to make even smaller ones that can fit inside mobile phones. “That's the killer app for us, but it's a couple of years off,” he says.
A hard disk in every pocket? With over 450m mobile phones sold every year, that would open up an enormous new market. No wonder hard-disk makers hope their products will break out of the computer industry. The much bigger world of consumer electronics beckons.
http://www.economist.com/science/tq/displayStory.cfm?story_id=2246145
culater
Wheels & Deals
HP a Customer of e.Digital, Softeq Partnership
e.Digital Corp. and systems integrator Softeq Development Corp. have agreed to work together to develop new products for the digital audio market, the companies said. Hewlett-Packard is working with the partnership as a customer to explore the potential for digital audio products, according to a press release.
The companies will collaborate on developing products using e.Digital's patented MicroOS technology and applying e.Digital's expertise in portable product design.
e.Digital Corp. designs, licenses, brands, manufactures and sells digital audio products and technologies.
Softeq is a privately held corporation specializing in system integration, project management and product development for Fortune 1000 companies worldwide.
www.edigital.com
www.softeq.com
http://www.interex.org/hpworldnews/hpw305/pub_hpw_prods_wheels.jsp
culater
http://www.bmrd.com/html/catalog.html
Odyssey 20 Gb MP3 Jukebox with Voice Navigation!
http://www.bmrd.com/html/mp3_players.html
Odyssey 20 Gb MP3 Jukebox with Voice Navigation!
Standard Accessories:
Carrying Case, Collapsible stereo headphones
Mini-USB 1.1 / 2.0 Cable, RCA Stereo Adaptor Cable
Installation CD and quick start guide
Universal DC adaptor/battery charger
e.Digital Music Explorer software for PC
Features:
High-speed download (Up to 8 MB per second with USB 2.0*)
MP3 & Windows Media™ music file playback
FREE Music Files already loaded!
Plenty of space to store music, photos, games, and other data
VoiceNav – Just Say It to Play It!
Anti-skip Protection - Up to 8 minutes
FM tuner w/ 12 Available station presets
Rechargeable, replaceable Li-Ion battery plays up to 12 hours
Easy-to-use scroll wheel
Digital voice recorder
Built-in mic for recording lectures, meetings
Be your own DJ with playlists
Normal, shuffle, repeat & intro play modes
Large, Blue-Green backlit LCD
Programmable equalizer
SRS Labs WOW Effect - A rich, 3-D Listening Experience
Holographic color-changing logo
100 free downloads from EMusic.com
Click here to see what people are saying about the odyssey.
Upc Code 795225838414 Part #ODY20 Price $349.99
Currently out of stock.
--------------------------------------------------------------------------------
For more information or to place an order, please contact us via email info@bmrd.com. You may also call us at 714-970-3515 from 8-6 PM PT, Monday through Friday.
Microsoft confirms music store plans
By John Borland, CNET News.com
Microsoft has at last confirmed plans that it will launch its own music-download store next year, putting it on the path to direct competition with Apple Computer's iTunes and a growing list of rival digital song stores.
WITH UNEQUALED SOFTWARE reach, Microsoft's entry into the market will almost necessarily create a splash larger than that of virtually any other company, despite being as much as a year behind Apple and others. But the company's service is also certain to be closely scrutinized by antitrust regulators who are already examining its music policies with a microscope.
The plans also represent a change in direction that has left some of Microsoft's own customers feeling betrayed. When Apple's store launched last year, Microsoft publicly stated it had no plans to compete directly, preferring instead to let other stores use Microsoft technology for their own efforts.
But those assurances changed over the course of the last few months, rivals said.
"They called up and said they were going to do it themselves, but the person on the phone said, 'You know us, it's going to take us more than a year to get it up,'" said one executive at a rival music service, asking not to be named. "It was a bad news, good news kind of thing."
The official confirmation of Microsoft's music-retail plans come after months of speculation and hints from as high as Microsoft Chairman Bill Gates himself. Gates said in July that he was considering building a song store, even if he didn't see it as a direct profit center for the company.
A spokeswoman for the company's MSN division said that the store is expected to launch in 2004, but gave no details beyond that. As first reported by The Wall Street Journal, the company also posted a listing on its corporate hiring site last week advertising for a senior marketing staffer who could help develop a business plan for the site's launch.
(MSNBC content is distributed by MSN. MSNBC itself is a Microsoft - NBC joint venture.)
CROWDED FIELD
By the time Microsoft's download store debuts, the digital landscape will be awash in competition, however. Apple's Windows-based store, which sold 1.5 million songs in the first week of November, opened in mid-October. The new Napster -- a combination store and subscription service -- launched at the end of October.
RealNetworks' Rhapsody subscription service is adding a song store that will be open to the public by the end of the year. Musicmatch, MusicNow and BuyMusic all have opened their digital doors already. Major retailers including Wal-Mart Stores and Amazon.com are expected to launch their own efforts, while PC makers including Dell are offering co-branded versions of other company's stores.
Virtually all of those them, with the exception of Apple, and the probable defection of Rhapsody later this year, use Microsoft's own technology to encode and distribute music.
As recently as last summer, Microsoft appeared to be keeping its hat out of the direct retail ring, under the theory that persuading as many other companies as possible to use its Windows Media technology was more important than having its own store.
"We're still very comfortable with the strategy of enabling lots and lots of partners to build these things, rather than build a closed proprietary service on our own," David Caulton, a group manager for the Windows division, said at the time.
It's too early to tell whether the software company's shift has ruffled enough feathers to drive other media companies or distributors to rival formats, such as those distributed by Apple or Sony. Some of Microsoft's soon-to-be-rivals say that they had expected the company's entry anyway and that working with Microsoft inevitably had elements of competition and cooperation.
"We have known for some time that they were considering this, specifically the MSN group," said Greg Rudin, vice president of marketing for FullAudio's MusicNow service, which is carried as a link inside Microsoft's Windows Media Player. "We are strongly partnered with the Windows Media division, and ... they have given us assurances that they will be fair and equitable with their partners."
LEGAL QUESTIONS
While Microsoft tries to soothe customers' bitterness over its store plans, it also will have to negotiate a tricky legal landscape. Regulators on both sides of the Atlantic are already asking hard questions about the software giant's music plans and will certainly watch closely to see how tightly the company links the store to its Windows operating system and the Windows Media application.
European antitrust officials are already considering forcing Microsoft to remove its multimedia software from the operating system, saying that the connection is unfair to rival software companies.
In the United States, federal and state regulators are questioning a "Shop for Music Online" link inside the XP operating system that leads directly to a Microsoft page.
The spokeswoman for Microsoft said it was too early to tell whether the download store will be contained inside the Windows Media application, or simply included inside the MSN service. Most analysts expect a link to the store inside the application itself, following in the wake of Apple's success with its iTunes software
http://www.msnbc.com/news/994765.asp?0cv=CB20
culater
Putting the Pieces Together
November/December 2003
By Michael Grebb
Photography by Debi Fox
Chips Drive Converging Products
The concept of convergence has had its ups and downs over the years. First, convergence was cited as the reason that telephone, video and data networks would all reside on the same wires. When that didn't happen overnight, it became the hopeful catchphrase driving the sprint toward interactive television. When that didn't pan out quite the way many expected, it became the crux of several financial deals to marry dot-com mavericks with old-media giants. If the fallout from the America Online–Time Warner deal is any indication, convergence didn't exactly win any new allies on that front either. Lately, convergence is one of those terms that elicits a raised eyebrow and a snicker from media veterans. Been there. Done that.
Nonetheless, convergence is making a comeback in the new millennium as consumers—once turned off by bulky and hard-to-use devices—are waking up to a world of small, sleek gadgets that do just about everything. "We may be hitting a plateau in which you can have everything you need in the palm of your hand," says Mike DeNeffe, director of marketing at Transmeta, a Santa Clara, Calif.–based chip company. "The next step is just doing it better."
Semiconductor companies seem to be succeeding in that regard. According to Stamford, Conn.–based Gartner, the worldwide market for semiconductor chips is expected to reach $173 billion in 2003, an 11 percent increase over 2002. Simultaneously, advances in display screens have raised consumer expectations of robust graphics, and spacious hard drives have fed consumer desire to store and quickly retrieve large multimedia files such as digital photos and MP3 music files. All of these features require stronger semiconductor chips even as consumers pine for increasingly small, portable devices.
Not only are chips now able to handle increasingly complex software and the dizzying number of mathematical calculations required to run them smoothly, but more efficient memory and processing chips are driving convergence devices like never before. As volumes have increased, prices have plummeted, making it even easier to include new features.
Not only are chips now able to handle increasingly complex software and the dizzying number of mathematical calculations required to run them smoothy, but more efficient memory and processing chips are driving convergence devices like never before.
Who, after all, could have predicted the popularity of mobile phones with digital cameras? "It's no longer a phone," says Tom Hillman, associate director of data sales at Verizon Wireless. "It's a device capable of multiple tasks, and that progression is continuing." And now manufacturers are throwing in even more computer-like features. The new Nokia 3650 mobile phone, for example, allows consumers to take short video clips and send them wirelessly to whomever they want. Grandma no longer needs to wait for a video of baby's first steps: Now she can watch it on her e-mail client.
Chips Powering Solutions
Cramming robust multimedia features into a small mobile device just a few years ago would have required so much power it would have been futile to try. But with battery advances slow in coming, chip makers have stepped in to fill the void, placing functions that used to require several chips on one slab of silicon to conserve power. Chips also work more efficiently with computer software than ever before, further reducing battery drain. And highly advanced power-management chips now can reroute power only to parts of the device being used at any given moment. "We've made trailblazing efforts in processing technologies," says Jeff Wender, strategic alliances manager for Texas Instruments' OMAP platform, which combines high-end speed with low power consumption.
"Otherwise, you'd have this fantastic technology that only runs for a few seconds." Texas Instruments should know: More than half of the mobile phones now on the market contain its chips.
Convergence in the small-device market always has hinged on power and size tradeoffs. That blazing processor in the typical high-end PC requires an enormous amount of power to function correctly, not to mention plenty of real estate within the computer itself. High-end chips also generate considerable heat. In a computer, it's easy to add a fan to cool things down, but in a small device like a mobile phone or personal digital assistant (PDA), a fan would be too noisy and suck away vital power from the battery. "In a way, it's a vicious cycle," Wender notes.
Key to breaking that cycle, of course, is devising more efficient chips. In April, Toshiba America Electronic Components introduced "multichip packages" that stack five or six chips in one ball grid array, squeezing many functions into a small amount of space to help drive feature-rich, yet tiny, mobile phones. "The driving factor is the real estate," says Scott Beekman, Toshiba's business development manager for communications memory products.
But as marketers consider what consumers will pay, the chip wizards behind convergence devices are scrambling to figure out exactly what they really want.
The combination of more space-efficient chips with faster processing and lower power consumption has reinvigorated handheld gadgets. "You see a new level of devices out there now," says Zack Weisfeld, associate vice president of marketing at M-Systems, which develops "flash" memory chips. Flash memory serves the same basic function as a computer hard drive but can reside in a much smaller space and without movable parts, making it better suited for mobile devices. "You're starting to really see mobile entertainment devices," Weisfeld says. "Something that started out as a PDA now incorporates a lot of multimedia functions. You need to have high performance. You don't want to wait a couple of minutes to see a picture or listen to a song. There's a belief that these convergence devices will have even more features than your PC."
Designer Chips at Home
Of course, chip advances are also driving more functionality into the living room. In October 2003, Fort Lauderdale, Fla.–based Video Without Boundaries was planning to unveil an Internet-ready DVD player for between $350 and $400. "The only way to get to successful convergence is to have some power in there like a PC," says Ken Nelson, CEO and founder of CACMedia, a technology vendor for the device. "The question is, What do people want? Media-on-demand is becoming a must-have consumer trait. But you're asking consumers to make a behavioral change—to put things in the living room that aren't normally in the living room."
Consider this: The main chip in a DVD player can cost as little as $30. But with many consumers willing to pay hundreds for a player, that leaves a lot of room to add features. "No one in the chain is making money on a $50 DVD player," notes John O'Donnell, chief technology officer at Campbell, Calif.–based Equator Technologies, whose chips have helped drive adoption of inexpensive DVD player/burner combo units and DVD players that support Microsoft's Windows Media streaming format. The need to stand apart from the crowd is a market dynamic not lost on chip designers. "When things get commoditized like that, people start to look for ways to differentiate themselves," says Neil Robinson, marketing manager for U.S. consumer entertainment at ARM, which licenses intellectual property to chip companies. "People try to expand. They are trying to push the boundaries."
The Hurdles
But Robinson says manufacturers also face risks. "Today, DVD players are so cheap that it doesn't matter if it breaks," he says. "You just buy another one. But if you start to put a lot of features in there, it starts to become a reliability issue." After all, combining DVD functionality with personal video recorder (PVR) highlights, Internet access and other features can confuse consumers.
"It slices and dices and even juliennes," says Charles Golvin, a senior analyst at Forrester Research. "A sales person at Circuit City or Best Buy—God help him trying to explain that to a customer." In July, chip maker Advanced Micro Devices released the results of a survey suggesting that consumers continue to be frustrated and confused by feature-rich devices. And while Sony's new feature-heavy PEG-UX50 Clie PDA has won rave reviews from analysts, many experts doubt whether consumers will shell out an estimated $700 for the privilege.
But as marketers consider what consumers will pay, the chip wizards behind convergence devices are scrambling to figure out exactly what they really want. After all, technology can be somewhat intangible. HDTV sales didn't take off until consumers actually saw them in action. The same chicken-and-egg problem has vexed the world of convergence for years.
"This is something we talk about every day," DeNeffe says. "It's the technology marketer's dilemma. It's like exploring outer space. It's never going to be a sure thing that a particular device is going to be a slam dunk until it gets into the market." Analysts also wonder whether convergence is driven too much by technologists' desire to bring Star Trek to a reality near you. "A lot of these attempts at integrated devices fail," Golvin says.
"Engineers and product developers essentially see something cool and neat and there for the taking, so they put it in. With phones, for example, people don't use a tenth of what is there."
Wagging the Dog
It may be an open question whether the technology tail is wagging the consumer dog, but companies aren't flying blindly either. "Advances in technology often go in search of an application," says Christopher Fletcher, vice president and managing director of the Aberdeen Group. But he adds that consumer research usually takes over at that point, ensuring that at least some nascent demand exists before manufacturers make any significant bets. Says Nelson: "We need to disguise the convergence product as something they're looking for today."
Regardless of what convergence products take off, manufacturers—emboldened by the fastest, cheapest, most efficient semiconductor chips in history—are taking risks. Experts predict everything from mobile videoconferencing to homes in which all devices connect seamlessly to one another via broadband wireless networks is coming in the next few years. No matter what the future holds, consumers largely can thank the semiconductor industry for giving convergence another chance to prove itself. Device makers hope consumers will keep thanking them—with their wallets
http://www.ce.org/publications/vision/2003/novdec/p08.asp
culater
On the Multimedia Road
Test Driving the Latest in Mobile Multimedia
November/December 2003
By Catherine Applefeld Olson
photo of car and driver by Debi Fox; car provided by Stoelman Volkswagen of Tyson’s Corner, Va.; Kathleen Kennedy (model)
Automobile showroom floor contemplations, once limited to selecting exterior and interior color, have catapulted into the information age, with options ranging from advanced entertainment consoles to complex navigational systems providing automobile owners with an entirely new kind of "cruise control."
Although the jury is still out on just where many of these new gadgets intersect on the safety graph, consumers are greenlighting them with fervor.
Steve Gregor, who owns a steel company in Fontana, Calif., began adorning his cars with audiovisual gadgets 15 years ago to enhance the family's three-hour road trips to the lake.
Today, his 2003 Hummer is equipped with no less than a satellite navigation system, CD changer, speakers and subwoofers, DVD and VCR players and six 7-inch displays located on rear head rests, the passenger visor and the front console. Several have plug-ins for interactive games.
"Once you get used to having them, you can't give them up," deadpans Gregor, who says there is not one bell or whistle that he or his four children would part with. "It's like a computer. If you had to use a typewriter as opposed to a word processor nowadays, you would be pretty upset."
CEA estimates sales of mobile video and navigation devices in 2002 totaled in excess of $900 million in factory sales to dealers. The increase is a marked one over the $690 million estimated for 2001.
Decisions Decisions
Yet, while the question for many consumers today is not whether but how many new mobile gadgets to equip their car with, consumer electronics (CE) manufacturers are grappling with the question of just which features belong on the road.
"The real issue today is not what can we do in the car but what should we do in the car," says Steve Witt, vice president of brand marketing for Alpine Electronics of America. "There are many exciting technologies intended for home or desktop use that do not belong in the automobile, and there is a lot of effort from many manufacturers right now to figure out what makes sense."
The real issue today is not what can we do in the car but what should we do in the car.
The in-automobile market falls into two categories: factory-installed, or original equipment manufacturer (OEM) products, and those installed after sale—a significant area, since most of the existing 191.3 million licensed drivers in the United States, according to the U.S. Department of Transportation, are not about to buy a new car just to get a rear-seat DVD monitor, no matter how enticing.
Indeed, as of August 2002, year-to-date sales of aftermarket in-car DVD players—including overhead and floor consoles, in-dash and separate units—were just shy of 250,000 units, according to CEA.
And now that standard-definition DVD has conquered the family room, the availability of factory-installed players is spiraling out from the luxury and minivan market as well. For model year 2004, Panasonic DVD players are available in 20 General Motors cars, including the moderately priced Buick Rendezvous and Sierra, up from 14 models last year.
"Initially there was limited installation; it was perceived as a luxury-only option," says Tom Dunn, business manager for marketing, planning and development at Panasonic Automotive Systems North America. "Now we are entering the mainstream growth phase, and there are various iterations of the DVD players for different demographics."
Viewing options range from dual backseat screens that allow junior to watch Spy Kids while Uncle Ralph catches up on BBC programming to a sunroof-compatible monitor to a 7-inch flip-up LCD screen that nestles into the armrest when not in use. Some high-end systems can facilitate game-console play.
Coming down the pike are various portable plug-and-play units that can travel from car to home, as well as slimmed-down integrated component systems where mechanisms and screens are housed together. Inroads in higher visual performance and higher-resolution screen quality also are in the works.
Digital Sound Developments
Along with a landslide of visual aids, improvements in mobile sound quality are shifting into high gear as manufacturers commit to developing in-auto products for DVD-Audio, SACD (super audio compact disc), multichannel disc play and more.
The first factory-installed DVD-Audio system debuts this fall in the 2004 Acura ELS courtesy of a product jointly developed by Panasonic and veteran record producer Elliot Scheiner. Dunn predicts the trend will snowball during the coming year.
"Some of the automobile manufacturers are skeptical when we present it to them in a conversation, but they quickly lose that skepticism when they get into the vehicle and hear what the experience is all about," he says.
Fast becoming a staple of on-the-road audio are in-dash CD players that facilitate playback not only of MP3 but of additional digital audio formats, including WMA and AAC. For in-dash CD players with full functionality and this kind of playback, the ceiling seems to be about $250.
"This is becoming a standard feature for functionality even at the low end, and the trend also is driving innovation with hard drive–based products entering the market," Witt says.
As storage demands continue to swell from the expectations of the "use generation," the need for larger-capacity processors has spilled into the automotive market.
Coming down the pike are various portable plug-and-play units that can travel from car to home, as well as slimmed-down integrated component systems where mechanisms and screens are housed together.
Targeting the extremely early adopter consumer, several CE manufacturers, including Alpine, Sony and Pioneer, in 2003 launched expensive, first-generation "mega mass storage" products. Alpine's HDA-5460, for instance, packs a 16GB hard drive and a price tag of $1,000.
Out to change the current radio listening experience, Ibiquity—whose technology digitizes the existing AM and FM band—says it has worked out the kinks in its compression technology and is moving forward with product development in conjunction with licensees, including Kenwood, JVC and Panasonic.
The technology would advance AM stations to FM-like sound quality in the car—reopening the prospect of music formats playing on the AM band—and provide a channel for data streams such as weather, traffic and news over the FM band.
Futuristic applications include the ability to have content read to the driver, as well as the integration of traffic reports with navigation systems, and even a TiVo-like store-and-replay function for radio, says Dave Salemi, Ibiquity vice president of marketing.
Wireless Connectivity
Wireless connectivity to a vehicle as a means of collecting and delivering information, entertainment and safety measures is being studied by almost every facet of the industry. The technological options are myriad, ranging from satellite to analog, digital, PCS (personal communications services) or 3G (third generation) connections via either the Bluetooth or the 802.11 standard to telematics.
Factory-installed global positioning systems (GPS), notably the branded OnStar system, have made big inroads in most sectors of the business.
Additionally, Rockford Corp. recently introduced the OmniFi, an 802.11-based device to deliver entertainment content, although the general category still is at least three years from a general market launch, a launch that could splinter in different directions.
From the aftermarket perspective, entertainment content delivery is driving development in the wireless arena. From the OEM perspective, driver information and customer relationship management are the primary research and design focus.
A case in point: BMW Group this summer launched an online service inviting consumers to submit ideas for the development of new telematics and other driver assistance services. If successful, the Customer Innovation Lab may expand to encompass other mobile media areas.
Telematics, the science of combining wireless communication with an embedded GPS or other computing system, is garnering much attention for its potential to create a safer car as well as connect drivers with various industry segments.
One possible application would enable a pay-as-you-drive auto insurance model. Another would enable a digital music service to sell a download to a driver while, say, he or she is pumping gas.
However, the technology has yet to move into the commercial fast lane.
"It comes down to creating a cross-industry business model for telematics. There is not going to be a killer app, there are a whole variety of applications," says George Salmi, a telematics business development executive at IBM. "The challenge is that a lot of these folks either don't know each other, or know each other and don't like each other."
As Salmi sees its, automobile manufacturers are going ahead with the development of wireless connectivity, and telematics offers a way to differentiate their brand for a minimal incremental cost. "The telematic value equation needs to broaden as to what it can give you, the driver, beyond a cell phone or wireless PDA," he says.
IBM, which has been in the telematics trenches for years, is fine-tuning its Artificial Passenger, a voice-based system capable of providing directions, issuing warnings about vehicle, road or weather hazards, and detecting driver drowsiness and interceding. It also can deliver entertainment and information content.
Challenges in the consumer market include simplifying the design so the interface still resembles a dashboard rather than a computer desktop, Salmi says.
Satellite Radio
Following a business model similar to that of cable television, mobile satellite radio is resonating loud and clear with consumers and has crossed over to "standard feature" status in a few 2004 models.
Unlike other mobile products that migrated from the home to the car, satellite radio was born on the road and is looking to expand in the other direction with the debut of numerous plug-and-play, and home- or office-based products.
The appeal? With the number of hours the average person spends on the road nowadays, the prospect of nationwide continuous music, news and sports is a hot one.
And once they sign on, few subscribers do a U-turn, according to Todd Goodnight, senior director of product management at Sirius Satellite Radio, who says the churn rate is far lower than that of satellite TV subscribers.
"It's the lifestyle of get it now, get it when you want it," Goodnight says. "People don't want to wait for the top of the hour for the weather or news. They want to be able to go to a place for a source of information and get it immediately."
Sirius, which charges a $12.95 monthly fee for commercial-free programming, is on track to have some 300,000 subscribers by year's end. Competitor XM Satellite Radio, whose service costs $9.95 per month with some commercials, anticipates reaching 1.2 million subscribers by January and is pushing hard for the home and business markets on the merits, for instance, of a new plug-and-play component that's roughly the size of a Tic Tac box.
"We are about delivering new content options to all environments where people enjoy listening to music, news and sports," says Dan Murphy, XM senior vice president of product marketing and distribution.
Although XM and Sirius have respective exclusive deals with various auto manufacturers (the former with all GM, Honda and Toyota brands; the latter with all Ford and Chrysler brands), wooing those manufacturers that have not yet signed on, including Nissan, for one, has forced the companies to begin developing interoperable antennae, radios and tuners.
http://www.ce.org/publications/vision/2003/novdec/p14.asp
culater
Just recieved a glossy 32 page Gateway holiday catalog. The "NEW! Gateway DMP-X20" is a 3/4 page ad/photo on page 8. The opposite page(9) is an ad for "Napster is back, and only Gateway has it!"
The front cover also has a smaller picture of the Gateway DMP-X20(lower right corner)
http://accessories.gateway.com/AccessoryStore/Consumer+Electronics_381930/Audio_381931/MP3+Players_3...
http://www.gateway.com/gifts/holiday/index.shtml
http://www.gateway.com/home/deals/offers/music/napster.shtml
On the top of the ad in the print gift catalog it says:
"The spotted box rocks!
Set life to music in the mast extraordinary ways"
(No mention of eDigital)
culater
One such item is a jogging outfit made by Infineon Technologies AG, based in Munich, which has an MP3 player in the sleeve which is activated by voice command through a microphone embedded in the collar.
http://straitstimes.asia1.com.sg/techscience/story/0,4386,219543,00.html
culater
Gateway's new DMP-X20 digital jukebox
Tuesday, November 11 @ 09:00:00 PST
The new Gateway DMP-X20 Digital Jukebox gives music lovers a fun and affordable new way to take their entire digital music library with them wherever they go.
Priced at only $299.99 -- $100 less than the 20GB Apple iPod -- the Gateway DMP-X20 Digital Jukebox includes unique features like a built-in FM tuner, digital voice recorder and large 2.5 inch display.
The new Digital Jukebox was launched today at the Gateway store in New York City, where chairman and CEO Ted Waitt revealed the company's dramatic retail transformation and unveiled 14 new products for businesses and consumers.
"Until now, consumers were forced to pay a premium for a high-capacity ultra-thin digital jukebox," said Matt Milne, senior vice president and general manager of consumer solutions, Gateway, Inc. "The affordable price and abundance of features makes this a great holiday gift idea for music lovers of all ages."
The Gateway DMP-X20's large 20GB of storage capacity can house 5,000 MP3 songs -- so an entire collection of great music can always be on hand. The new Gateway digital music jukebox is so thin and light it can be taken virtually anywhere; it measures only 3.9 x 2.6 x 0.83 (HxDxW) and weighs just 7.7 ounces. And while the size is small, the sound quality is big. The Gateway DMP-X20 delivers clean, crisp high-fidelity sound that will impress the most discerning audiophile.
The built-in FM tuner and digital voice recorder set the Gateway DMP-X20 apart from the competition. The FM tuner with 12 user-selectable presets lets music lovers quickly tune into their favorite radio stations on the go. The built-in digital voice recorder is a handy tool for recording meetings, lectures or making personal reminders.
The Gateway Digital Jukebox is simple to use, yet has several innovative features. It boasts the industry's largest display in its class -- the easy- to-read 2.5-inch display stylishly presents MP3 and other data with an indigo blue backlight. The intuitive scroll navigation makes accessing and managing content quick and easy. Music can be browsed by album, artist, genre, track or playlist, and modes such as shuffle and repeat personalize the music mix. Plus, music lovers can customize their listening experience with the five-band equalizer with six modes (five pre-set and one user-programmable).
The Gateway DMP-X20 Digital Jukebox is so versatile that it can also be used to transport photos, presentations and other types of electronic data. The lightning-fast USB 2.0 interface allows transfers as fast as a song per second -- so the jukebox can be fully loaded with music in about an hour. Transferring downloaded MP3 and Windows Media Audio files from services like Napster is a snap, since the Gateway jukebox is compatible with existing and next-generation Windows Media DRMs.
Additionally, the Gateway DMP-X20 Digital Jukebox can store and play hundreds of hours of spoken word content from Audible.com, so Gateway customers can choose from Audible's collection of 20,000 popular audio books, audio editions of leading newspapers and magazines, and public radio shows for convenient on-the-go listening. The Gateway DMP-X20 Digital Jukebox comes with a free one-month membership to Audible, giving customers any one audio book from Audible's collection of 6,000, and any two one-month subscriptions from Audible's subscription center -- a $60 value.
After filling their Gateway jukebox with music and other content, Gateway customers have maximum listening time ahead of them, since the battery delivers more than 10 hours of play time on a single charge. The remote control, which comes standard with the Gateway DMP-X20, gives music lovers one-handed access to their jukebox while it is placed in a pocket, purse or bag. The new Gateway DMP-X20 Digital Jukebox comes with stereo earphones, USB 2.0 cable, RCA cable, AC adapter, case and a helpful Quick Start guide.
The Gateway DMP-X20 Digital Jukebox is priced at $299.99 , and Gateway is taking pre-orders for the product now online, by phone and in Gateway stores. The jukebox will be available nationwide on Nov. 26.
Direct Connect USB 2.0 MP3 Players
Also today, Gateway further expands its line of USB 2.0 MP3 players with three new affordable, small USB 2.0 Digital Music Players ranging from 64 to 256MB. Each device is actually four products in one: a digital audio player, digital voice recorder, FM radio tuner, and a portable data storage drive. These new devices build on Gateway's previous generation of digital audio players with the new FM radio tuner functionality, while still allowing users to listen to MP3 or WMA files, transport photos or any other data and record voice messages.
The new Gateway USB 2.0 Digital Music Players are so small, they can be connected to a keychain, or worn around the neck. They measure just 3.3x1.5x 0.6 inches (LxWxH) and weigh only 1.7 oz with the battery installed. The easy- to-read, backlit display is now larger and can show four lines of MP3 or other data. Like the first generation players, these new Gateway Digital Music Players are plug and play compatible with Windows XP and connect directly to a PC via their built-in USB 2.0 connection for fast and easy music or file transfers.
The three new USB Digital Music Players are also available now through all of Gateway's sales channels. The new players are priced as follows: 64MB(2)
Gateway DMP-110: $79.99; 128MB Gateway DMP-210: $99.99; and
256MB Gateway DMP-310: $149.99. They all come with comfort-fit ear clip stereo earphones, a carrying case with belt clip, a neck strap, a USB extension cable and one "AAA" alkaline battery which provides up to 12 hours of battery life.
Hands-on Training Lets Users Do More with their Digital Music Player
Unlike most technology retailers, Gateway offers a range of training programs that let their customers get the most from their new purchase. Those just getting started with digital music can learn everything they need to know with Gateway's "Survive&Thrive(TM): Your Lifestyle Guide to Digital Music", a learning package that provides instruction on how to download music from the Internet, create and manage playlists, burn music CDs, the basics of digital music players, as well as how to access radio stations from all over the world. Many courses are available in the Survive&Thrive Learning System, which combines an engaging half-day training course at a Gateway store, a pass to online learning, an interactive CD-ROM and a vibrantly illustrated book, giving customers multiple ways to learn.
Pictures and discussion can be found here:
http://forums.designtechnica.com/showthread.php?s=&threadid=3325
http://news.designtechnica.com/article1822.html
culater
Gateway and Audible announced today that the new Gateway DMP-X20 Digital Music Player is now shipping, and as an AudibleReady device, comes with a free trial AudibleListener(R) membership.
http://home.businesswire.com/portal/site/google/index.jsp?ndmViewId=news_view&newsId=20031111005...
culater
MAC comments-lol-Gateway debuts iPod knock-off; incompatible with iTunes Music Store
Tuesday, November 11, 2003 - 04:38 PM EST
Gateway has announced their DMP-X20 Jukebox for US$299 featuring "vast 20GB storage (that’s enough space for 500 CDs or 8,000 songs!) and extra functionalities for musical diversity on the go."
The Gateway DMP-X20 Jukebox include a built-in FM-tuner for listening to live FM radio, audible.com compatibility, USB 2.0 PC interface (no FireWire), and a digital voice recorder. It’s also Microsoft JANUS DRM/Napster-ready (oh, joy) so subscribers to these services can download files. It does not work with songs purchased from Apple's market-leading iTunes Music Store.
It's also butt-ugly; looks like a it has a Drac's mouth to us. Make sure you haven't eaten recently, then afflict your eyes here
http://www.macdailynews.com/comments.php?id=P2136_0_1_0
culater
Sony Joins Internet Music Services Fray; Direct Challenge to Apple's iTunes
Sony will harness its music, movie and electronics divisions together to produce an Internet music service and accompanying gear to directly challenge Apple and its iTunes service and iPod music player according to a speech by Sony vice-chairman Howard Stringer in Paris. Only a few details were disclosed:
- Sony's electronics operation will develop products that use the company's proprietary DRM called OpenMG for copy protection.
- The service will offer downloading.
- Sony Music will provide the content initially but the four other major labels are expected to make their wares available too.
- The launch date for the US and Europe is spring 2004. Japan will get the service sooner.
- Sony will license its OpenMG DRM to other hardware makers.
It's evident that Sony is tired of having Apple's iPod players and iTunes service pushed at it as examples of products that Sony should have launched. The logical successor to Sony's Walkman would have been an iPod-like device as the source for music switched from radio and cassette tapes to Internet downloads. Sony has, in effect, missed a whole generation of portable music players as companies like Apple and Sonicblue with its Rio MP3 players have shown the way.
Sony, with its part ownership of the Pressplay music service (now owned by Roxio and soon to be renamed Napster), also missed the boat again, with Apple and RealNetworks' Rhapsody being the leaders.
A major part of Sony's problems with portable music players and Internet music services is in it own hose, what with Sony Music being fearful of the changes taking place in the music delivery business. Its fear of losing control of its copyrighted music caused Sony to trail outfits like Apple and Sonicblue. One wag commented that maybe Sony didn't come out with an MP3 player because it owns a label and it would have been conflict of interest since the music industry first saw the MP3 players as enabling piracy, and perhaps still does.
Sony now says that it has assembled a team of people from Sony Music, Sony Pictures, Sony Electronics and Sony America to create a new generation of media-playing hardware and an Internet-based music service that will help it regain some of its lost glory and bottom line profits.
Sony could pull it off; it has all the pieces needed to string together a complete digital media chain - from broadband to shirt pocket-sized media players, both audio and video. On the other hand it has had all the pieces for the last three years yet its bosses let the company slide behind newcomers like Apple and RealNetworks.
Sony Music is in an industry that has suffered a 16% revenue decline over the last three years so perhaps it hears the alarm clock clanging. Sony Electronics has seen its image as leader tarnished so perhaps it will rise to the challenge. Whether the assembled group working on the unnamed device will have the entrepreneurship and vision to create stunning products and a first-rate, unhampered music service is a question, considering Sony's performance in digital media over the last three years.
Sony's CoCoon personal video recorder is only available in the US. TiVo and products based on TiVo-licensed technology have a formidable lead. Of particular threat to Sony in the PVR business is the incorporation of PVR functions into other devices as DISH Networks has done with its satellite TV receiver. Why would the owner of a DISH combination receiver-PVR need a Sony CoCoon? Delay is deadly in the digital media field.
Sony's RoomLink product for sharing digital media content, wired or wirelessly, hasn't hit the market with any significant impact.
Sony must certainly realize that the next generation of handheld media players will display video as in movies, music videos, home videos, TV programs and digital photographs as well as audio, mainly music. Most digital consumer technology experts would be surprised if Apple isn't working hard, and secretly, on such a product - it's a natural with Apple's expertise in video. Paris-based Archos has shown what can be done with portable video players.
Sony's Internet music service will also face some stiff competition:
- Apple is expected to offer a Windows version of iTunes before Sony's launch.
- Napster will be back on the Internet music-downloading scene courtesy of its new master, Roxio.
- RealNetworks can be expected to stay aggressive in pricing (79 cents a track), marketing (displays in every Best Buy store) and technology (RealNetworks sees cell phones as a major part of the music industry's future).
- BuyMusic.com won't be scared off anymore than Buy.com was afraid of the Amazon.com behemoth. It's already committed to offering more tracks, 500,000, than any other service.
- Looming even larger as a music service rival for Sony is Microsoft, which has already launched a service in Europe.
Once upon a time Sony had the magic touch. Recent financial results say otherwise. The course it's embarked on now for an Internet music service and compatible players will show whether it can regain its former brilliance in product design and innovation.
Note: Digital Networks North America (DNNA), an operating company set up by D&M Holdings, bought Rio from Sonicblue in a bankruptcy auction in April.
http://www.onlinereporter.com/index.html#Sony%20Provides%20a%20Reason%20To%20Buy%20a%20CD,%20Not%20C...
culater
murgirl- I & ,I'm sure many, appreciate your posts, and your hard work on DD.The majority of YOUR posts are informational. Please keep them up. culater
Deloitte & Touche Announces Alphabetical List of 2003 San Diego Technology Fast 50 Winners
BW5332 AUG 05,2003 8:01 PACIFIC 11:01 EASTERN
Business Editors/High-Tech Writers
ADVISORY...for Wednesday (Sept. 17)
--(BUSINESS WIRE)--
WHAT: Deloitte & Touche LLP, one of the nation's leading
professional services firms, is pleased to announce an
alphabetical listing of its 2003 San Diego Technology Fast 50
winners. The Fast 50 ranks the 50 fastest-growing technology
companies in San Diego County over five years (1998-2002). A
special category called "Rising Stars" recognizes the
fastest-growing technology companies based on revenue growth
over three years (2000-2002).
This year's San Diego Technology Fast 50 program is
co-presented by Deloitte & Touche, Comerica, Cooley Godward,
Fleishman-Hillard, Focus Creative, KPBS, Marsh, R.J. Watkins,
The T Sector, and in association with AeA and BIOCOM.
HOW: Technology Fast 50 winners are selected based on the
percentage of growth in revenues from 1998 to 2002. To be
considered, entrants must be based in San Diego County, and
must be a technology company defined as owning proprietary
technology that contributes to a significant portion of the
company's operating revenues (using other companies'
technology in a unique way does not qualify); and/or devoting
a significant proportion of revenues to research and
development of technology.
WHEN: Announcement of the San Diego Technology Fast 50 and Rising
Star winners ranked by growth percentage is scheduled for
Wednesday, September 17, at the Hyatt Aventine, La Jolla.
WHERE: Visit www.fast50.com for more information on the Technology
Fast 50 program.
WHO: 4-D Neuroimaging (San Diego)
American Technology Corporation (San Diego)
Applied Micro Circuits Corporation (San Diego)
Applied Molecular Evolution, Inc. (San Diego)
Biosite Incorporated (San Diego)
Captiva Software Corporation (San Diego)
Cardiff Software, Inc. (Vista)
CardioDynamics International Corporation (San Diego)
ComGlobal Systems, Inc. (San Diego)
Continuous Computing Corporation (San Diego)
Digirad Corporation (San Diego)
Discovery Partners International (San Diego)
Diversa Corporation (San Diego)
DJ Orthopedics, Inc. (Vista)
e.Digital Corporation (San Diego)
Epimmune Inc. (San Diego)
IDEC Pharmaceuticals Corporation (San Diego)
ImageWare Systems, Inc. (San Diego)
Information Systems Laboratories, Inc. (San Diego)
Innovative Medical Services (El Cajon)
Invitrogen Corporation (Carlsbad)
ISIS Pharmaceuticals, Inc. (Carlsbad)
JNI Corporation (San Diego)
Koam Engineering Systems, Inc. (San Diego)
Ligand Pharmaceuticals Incorporated (San Diego)
Lightspan, Inc. (San Diego)
MAXIM Pharmaceuticals (San Diego)
Miracor Diagnostics, Inc. (San Diego)
Mitek Systems, Inc. (Poway)
MUSICMATCH, Inc. (San Diego)
Nanogen, Inc. (San Diego)
Novatel Wireless, Inc. (San Diego)
Overland Storage, Inc. (San Diego)
Predicate Logic, Inc. (San Diego)
ProfitLine, Inc. (San Diego)
Prometheus Laboratories, Inc. (San Diego)
Protein Polymer Technologies, Inc. (San Diego)
ResMed Corporation (Poway)
SEQUENOM, Inc. (San Diego)
SeraCare Life Sciences, Inc. (Oceanside)
SmartDraw.com (San Diego)
SourcingLink.net (San Diego)
SureBeam Corporation (San Diego)
Terra-Kleen Response Group, Inc. (San Diego)
The Titan Corporation (San Diego)
ViaSat, Inc. (Carlsbad)
Websense, Inc. (San Diego)
WIDCOMM, Inc. (San Diego)
Wireless Facilities, Inc. (San Diego)
Women First HealthCare, Inc. (San Diego)
About Deloitte & Touche
Deloitte & Touche, one of the nation's leading professional services firms, provides assurance and advisory, tax, and management consulting services through nearly 30,000 people in more than 80 U.S. cities. The firm is dedicated to helping its clients and its people excel. Known as an employer of choice for innovative human resources programs, Deloitte & Touche has been recognized as one of the "100 Best Companies to Work For in America" by Fortune magazine for six consecutive years. Deloitte & Touche refers to Deloitte & Touche LLP and related entities. Deloitte & Touche is the US national practice of Deloitte Touche Tohmatsu. Deloitte Touche Tohmatsu is a Swiss Verein, and each of its national practices is a separate and independent legal entity. For more information, please visit Deloitte & Touche's web site at www.deloitte.com/us.
--30--JC/la*
CONTACT: Deloitte & Touche
Yi-Fang Kryger, 213-553-1944
KEYWORD: CALIFORNIA
INDUSTRY KEYWORD: NETWORKING E-COMMERCE INTERNET HARDWARE
COMPUTERS/ELECTRONICS ADVISORY
SOURCE: Deloitte & Touche
http://www.businesswire.com/cgi-bin/cb_headline.cgi?&story_file=bw.080503/232175332&director...
culater
Why iTunes Has Bands on the Run
Music fans are making their feelings clear: Online services such as Apple's put consumers in control of what they buy, not artists
Maybe I was wrong. Maybe established bands such as Metallica should fear Apple's iTunes Music Store. Longtime Metallica fan Marc McCoy, a graphic designer in Pittsburgh, wrote me that he would have bought just two songs off the band's new St. Anger release rather than the whole CD if he could have. Writes McCoy gleefully, referring to the coming PC version of the music store: "When iTunes for Windows rears its head, we'll see who's in control."
McCoy isn't alone. In the deluge of e-mail I've received about my last column few had any sympathy for bands such as Metallica and the Red Hot Chili Peppers, who refuse to release their music to iTunes (see BW Online, 7/16/03, "The Chili Peppers' Sour Grapes over iTunes"). They fear buyers will buy individual songs, breaking up the artistic fabric of their albums.
These bands aren't without their supporters. About a third of my mail called my critique wrong-headed, a disservice to the bands and popular music. "Album rock is still alive and strong," writes David Schrimsher, a commercial lender in Huntsville, Ala. "Isolate the songs, and the message is lost."
JUKEBOX JURY. Yet many declared that the day of album rock had come and gone. Writes John Grubb of Baton Rouge: "File-swappers took care of that. The bands are just too blind to see it." Grubb and Schrimsher represent the opposing sides in an age-old argument. It's a fight that dates back at least to Michelangelo, who insisted his famous statue of David wear not even a fig leaf, much to the horror of the Pope.
At the heart of the debate is this question: Who should decide what's art, the artist or the public? The Chili Peppers and Metallica say they -- and they alone -- should decide how fans should listen to and keep their music.
Increasingly, that's rubbing fans the wrong way, if my mail is any indication. Wrote Chuck McGinley, an electrical engineer from Boston: "Let people sample the works of an artist and then make their own decision."
DISTANT WAILS. In the hands of listeners such as McGinley, Apple's (APPL ) iTunes is a tool of liberation. It gives them the freedom to pick and choose, and, in essence, make their own compilations from favorite tracks. And that's just what many of those who wrote in told me they were using iTunes to do. In fact, the opportunity to compile personalized play lists and track selections may be one of the service's biggest draws.
Fans of iTunes represent an unstoppable force. Who wants to keep all those CDs if you can carry around 1,000 songs on an iPod and easily expand that library through the Internet? Not many I suspect. Nor is this growing army of Internet-savvy users going to stop at music. Not too far in the future an iVideo and perhaps an iTome, for downloading literature and audiobooks, respectively, will be available.
Already, I can hear the distant wail of writers and producers. But they better get used to it. People now expect to pick and choose. They've been doing it close to a decade with online versions of newspapers and magazines. Resistance will only embolden more pirates in Napster-like attempts to outflank the news and entertainment Establishment. What evidence shows that all the lawsuits have slowed music pirating? Sales continue to plummet -- 25% this year alone -- and the music industry blames illegal downloading.
SLIPPED DISKS. In truth, no good reason exists to resist the new technology of online sales and portable music. Apple's iTunes will no more kill CDs than vinyl killed radio. It will, however, reposition CDs in an ever-growing galaxy of music formats. My guess is that CDs will still be the choice of those who are willing to pay a premium for a higher-quality listening experience.
Downloadable music pales in comparison to CDs in terms of the quality of the sound. "MP3s are not how I want to purchase music," writes Kyle Jones. "Subtle details in the music are completely lost."
I suspect that plenty of other audiophiles feel the same way. Downloadable music will climb to the apex of distribution, pushing down but not replacing the formats that have come before it. What the Chili Peppers and Metallica need to do is embrace the new format and portable players, bending this technology to their artistic will. After all, a lot of rock groups took to albums as an artistic riposte to the tyranny of Top 40 radio.
I'm sure Apple would be only too happy to help these bands to figure the mechanics of such a new format.
http://www.businessweek.com/technology/content/jul2003/tc20030730_8330_tc056.htm
culater
Too Much Music?
By Mark Ireton, Cirrus Logic -- 6/24/2003
Electronic News
Did you ever try to memorize all the contents of an “Album” with 450 tracks? Did you ever press the next button 350 times because you listened to track 20, and then decided that you wanted to listen to track 370 next? Ouch!
A single CD can contain over 450 WMA tracks, for a hard drive player with a 20GB drive this increases to over 13,000 tracks! For MP3/WMA CD players to be successful it is vital that a music lover can conveniently locate the music that he wants.
Typical CD players have a simple segmented LCD display that shows only the current track number. In many 1st generation CD-MP3 players this display format was continued, leading to many disappointing 1st generation products. This is somewhat surprising given the almost ubiquitous use of character displays on solid state MP3 players, but was driven by both cost, and the desire to continue use of the same micro-controllers and user interface software from CD players.
Conveniently accessing the more than 450 tracks that can be stored on a single CD requires the use of a text based UI that can represent both the organization of the music and the specifics for each particular track. The simplistic 1st generation text based UIs replicate a PC centric directory/file representation of the music. This is usable, but is far from ideal. Use of a more powerful micro-controller for the MP3 player enables the comprehensive information stored in ID3 and other meta-data tags to be utilized to create an interface where the music lover can brows the available music by Artist, by Album, by Genre, by Composer, etc..
The display module is a critical component in the creation of an easy to use user interface. Displays on consumer music players are often viewed from a distance and readability is dictated by a number of factors. Your display module selection will depend on a matrix of requirements but the following characteristics must be considered.
First off, never forget “fashion”. This is a consumer product, and retail value is often determined as much by “coolness” as it is by player functionality. If you are making a portable music player, expect your customers to wear it. Display brightness and contrast determine the readability of the display from a distance and the viewing angle dictates the ease with which the display can be read from various points within a room. Just as important is the selection of either a color or a mono display as this has a direct impact on the design of the visual interface.
The implications of supporting hundreds, or thousands, of tracks on a portable music player extend well beyond the selection of an appropriate display.
Organizing the music data in real time to enable the music lover to browse the content without irritating delays requires the considerable processing power that can be provided by a 90+MHz 32-bit RISC microprocessor. Sophisticated firmware and large content database require access to extensive system memory that can be provided at low cost by the SDRAM that is included in an MP3-CD system to support Electronic Shock Protection (ESP).
The primary user interface requirement is “The UI should make selection of the music I want to hear, easy and quick.” A CD-MP3 player is an entertainment system. The UI should add to the entertainment experience, should make listening to the music more exciting – more interesting.
In the future, the UI must support three modes of listening: passive, active, and explorative. Passive listening is where the music lover is primarily doing something else, and the music is in the background. Passive listening is supported by selecting “categories” of music; an Artist, and Album, a Genre and enabling random, repeat, etc. playback.
During active listening, the music lover is actively browsing the music on the player and selecting tracks. A “playing now” playlist supports this activity. Selected tracks are appended to the playing-now playlist and the player navigate functions enable movement among the selected tracks.
“Explorative listening” is an entirely new mode of listening to music that has not been possible with past generations of music players. During explorative listening the music lover is accessing on-line information about the artist, album etc while listening to the music. As the music lover browses this information, the music system is recommending music tracks to listen to, and if selected appending them to the now playing playlist. Entertainment is key. Listening to music is entertainment, and explorative listening adds to that entertainment experience.
The “language” of a user interface evolves over time as successful paradigms become universally adopted. For compressed audio music players we are still fortunately far from this Nirvana. This creates an opportunity. Create a product and get the UI right and you have the potential for a market dominating music player.
--------------------------------------------------------------------------------
Author Information
Based at Cirrus Logic's headquarters in Austin, Texas, Dr. Mark Ireton holds a Ph.D. in digital signal processing for speech compression and has been active in the field of compressed digital audio for over 17 years. Dr. Ireton can be reach at mark.ireton@cirrus.com
culater
Too Much Music?
By Mark Ireton, Cirrus Logic -- 6/24/2003
Electronic News
Did you ever try to memorize all the contents of an “Album” with 450 tracks? Did you ever press the next button 350 times because you listened to track 20, and then decided that you wanted to listen to track 370 next? Ouch!
A single CD can contain over 450 WMA tracks, for a hard drive player with a 20GB drive this increases to over 13,000 tracks! For MP3/WMA CD players to be successful it is vital that a music lover can conveniently locate the music that he wants.
Typical CD players have a simple segmented LCD display that shows only the current track number. In many 1st generation CD-MP3 players this display format was continued, leading to many disappointing 1st generation products. This is somewhat surprising given the almost ubiquitous use of character displays on solid state MP3 players, but was driven by both cost, and the desire to continue use of the same micro-controllers and user interface software from CD players.
Conveniently accessing the more than 450 tracks that can be stored on a single CD requires the use of a text based UI that can represent both the organization of the music and the specifics for each particular track. The simplistic 1st generation text based UIs replicate a PC centric directory/file representation of the music. This is usable, but is far from ideal. Use of a more powerful micro-controller for the MP3 player enables the comprehensive information stored in ID3 and other meta-data tags to be utilized to create an interface where the music lover can brows the available music by Artist, by Album, by Genre, by Composer, etc..
The display module is a critical component in the creation of an easy to use user interface. Displays on consumer music players are often viewed from a distance and readability is dictated by a number of factors. Your display module selection will depend on a matrix of requirements but the following characteristics must be considered.
First off, never forget “fashion”. This is a consumer product, and retail value is often determined as much by “coolness” as it is by player functionality. If you are making a portable music player, expect your customers to wear it. Display brightness and contrast determine the readability of the display from a distance and the viewing angle dictates the ease with which the display can be read from various points within a room. Just as important is the selection of either a color or a mono display as this has a direct impact on the design of the visual interface.
The implications of supporting hundreds, or thousands, of tracks on a portable music player extend well beyond the selection of an appropriate display.
Organizing the music data in real time to enable the music lover to browse the content without irritating delays requires the considerable processing power that can be provided by a 90+MHz 32-bit RISC microprocessor. Sophisticated firmware and large content database require access to extensive system memory that can be provided at low cost by the SDRAM that is included in an MP3-CD system to support Electronic Shock Protection (ESP).
The primary user interface requirement is “The UI should make selection of the music I want to hear, easy and quick.” A CD-MP3 player is an entertainment system. The UI should add to the entertainment experience, should make listening to the music more exciting – more interesting.
In the future, the UI must support three modes of listening: passive, active, and explorative. Passive listening is where the music lover is primarily doing something else, and the music is in the background. Passive listening is supported by selecting “categories” of music; an Artist, and Album, a Genre and enabling random, repeat, etc. playback.
During active listening, the music lover is actively browsing the music on the player and selecting tracks. A “playing now” playlist supports this activity. Selected tracks are appended to the playing-now playlist and the player navigate functions enable movement among the selected tracks.
“Explorative listening” is an entirely new mode of listening to music that has not been possible with past generations of music players. During explorative listening the music lover is accessing on-line information about the artist, album etc while listening to the music. As the music lover browses this information, the music system is recommending music tracks to listen to, and if selected appending them to the now playing playlist. Entertainment is key. Listening to music is entertainment, and explorative listening adds to that entertainment experience.
The “language” of a user interface evolves over time as successful paradigms become universally adopted. For compressed audio music players we are still fortunately far from this Nirvana. This creates an opportunity. Create a product and get the UI right and you have the potential for a market dominating music player.
culater
ot-JVC tunes in with audio, video geared Pocket PCs
By: Jørgen Sundgot, Monday 23rd June 2003, 00:01 GMT
Two new high-end Pocket PC models from JVC, the MP-PV131 and MP-PV331, run on Windows Mobile 2003, boast impressive specifications and sport unique audio/video capabilities.
JVC today announced its plans to enter the personal digital assistant (PDA) industry with a Windows Mobile 2003-based Pocket PC. The company's Pocket PC line, to be named iO, will offer two high-end models, of which one offers unique audio/video features including MPEG4 video capture and playback, and wireless video streaming over Wi-Fi.
JVC's new iO line of Pocket PCs is geared towards heavy audio and video users
Powered by Microsoft's Windows Mobile 2003 software for Pocket PCs and a 400 MHz Intel XScale PXA255 processor, both the JVC MP-PV131 and MP-PV331 include a JVC AV player that supports a wide variety of compressed audio and video files, including MPEG4. In addition, the MP-PV331 includes MPEG4 video capture functionality, allowing users to stream video from a JVC camcorder to the device, which in turn can relay the stream over a Wi-Fi connection or store the video locally for subsequent playback or streaming.
Features that both JVC iO Pocket PCs share include the JVC AV player that supports MP3, WAV and Ogg Vorbis compressed audio files, as well as AVI (MPEG4) and ASF (MPEG4) video files. The player also includes a graphic equalizer for customizing the sound's tonal quality, a sound position expander that creates a broad soundfield when listening through headphones, and a Compression Compensation Converter that expands digital signals to improve fidelity. The latest Microsoft Windows Media Player is also included.
Other shared features of the two models include 128 MB of SDRAM, 32 MB of Flash ROM, a CompactFlash Type II expansion slot, an SDIO capable SD/MMC Card expansion slot, a 16-bit (65,536 colours) 3.5" transflective TFT display, a USB client port and a non-exchangeable 1100 mAh Lithium Polymer battery.
To these features, the MP-PV331 adds the aforementioned MPEG4 video capture, MPEG4 video streaming, built in Wi-Fi (802.11b) connectivity, a USB host/client port which enables connectivity with several JVC camcorder models, a digital still capture from camcorder feature and the ability to remotely control certain JVC camcorder models from an application on the handheld (focus, zoom, play, pause, stop, fast forward, rewind).
JVC wraps these features and capabilities in a slim black and silver case, measuring 5.2" x 3" x .65" and weighing six ounces.
Optional accessories available for both JVC Pocket PCs include a 3000 mAh expansion battery pack which - unconventionally - attaches to the bottom of the handhelds, a headphone with remote control, a desktop cradle with built-in powered stereo speakers, LCD cover and matching stylus in a choice of colors, USB synchronisation cable and carrying case.
The JVC MP-PV131 and MP-PV331 iO Pocket PCs will be available in the U.S. in September at $499.95 USD and $599.95 USD respectively. Information concerning availability in other markets was not available at the time of writing.
culater
IPod Muzak Isn't Same Old Song By Leander Kahney
Story location: http://www.wired.com/news/mac/0,2125,59270,00.html
02:00 AM Jun. 18, 2003 PT
Music entrepreneurs are using Apple's iPod to put a new spin on old-fashioned Muzak.
Instead of piping bland background music over tinny speakers, enterprising music promoters are loading hundreds of hours of hip tunes onto iPods and renting them to restaurants, nightspots, clothing boutiques and hair salons.
"It's hard for (smaller independent) labels to get exposure, and it's hard for stores to get the right music," said Lara Wiesenthal, the brains behind an iPod music service called Activaire. "I really get the perfect music into the stores, and it allows me to disseminate the labels' music to a different audience."
Wiesenthal, a 31-year-old architect, runs Activaire part time with her husband, Adesh Deosaran, and a couple of partners. Based in New York, Wiesenthal calls Activaire a "music stylist." The service provides music to a half-dozen boutiques and jewelers in New York, Paris and California.
For $100 a month, Wiesenthal's clients rent an iPod with about 30 hours of music loaded onto it.
Wiesenthal has licensed hundreds of songs from nearly 100 independent labels, most specializing in cutting-edge electronica.
From her library of nearly 100 GB of songs, Wiesenthal can tailor about 30 hours of music for each client. She often creates special playlists for different moods -- upbeat or mellow -- or different times of the day.
"The point is to provide the stores with more music than they were used to, and to make it automatic, hands-off," she said. "The iPod makes it really easy. They can even hit different playlists for different moods -- one for the morning, the afternoon or evening."
Every three months, Wiesenthal ships a new iPod to her clients with a new selection of music. The clients return the old iPod via package delivery service.
"It's like Muzak, I guess, but I don't consider them competition," Wiesenthal said. "Electronica is not the kind of music they use. A company like Muzak would never license from the labels I license from."
Muzak is the biggest of several music providers in the United States, and the company that loaned its name to the background music played in supermarkets, malls and elevators the world over. In 2002, it reported revenues of $42 million.
Wiesenthal doesn't yet make a living from Activaire, but she would dearly love to. She exudes missionary zeal. "I love doing this," she said. "My goal is to expose the mainstream to electronic music. I'm very positive about it because there's so much great stuff available. I think it'll take off. We've got some really exciting things coming up."
In Philadelphia, Adam Porter, a 29-year-old DJ and owner of Cue Records, an independent record store, hit on an idea similar to Wiesenthal's.
Like Wiesenthal, Porter sends out iPods loaded with music from his store's extensive catalog. He has clients at about a half-dozen restaurants, lounges and hair salons around Philadelphia.
"I'm trying to expose independent artists and acts, and generate more revenue for my music store," he said. "This is a great way to do that. They get the flexibility of a DJ without the DJ ego and attitude."
Unlike Wiesenthal, Porter hasn't started charging for his services. He's unsure about the legality of renting copyright music. He hopes he's covered by the ASCAP licensing fees his clients already pay to play music at their establishments, but he's hesitant to start charging until he's consulted a lawyer.
Still, Porter said the service isn't about money. "I'm trying to expose people to good music," he said. "I'm trying to find a way to market good music when there's a void of good radio here in Philadelphia."
One of his nonpaying clients, Roger Main, general manager of the Adriatica restaurant/lounge, said he's delighted with the service.
"I'm a technophobe. I didn't know how it was going to take care of us," Main said. "But it does a great job. The bartender chooses the playlist. It's better than a jukebox. The establishment controls the mood, not the customers."
Porter said he's been trying to find a way to market independent music for years. He experimented with mix tapes and custom CDs, but was never able to provide the variety and convenience of using an iPod.
"When the iPod came along, it was so easy, it was beautiful," he said. "You edit out all the bad stuff, all the filler songs, and you give people beautiful music. There's an endless supply, and it's always cutting edge and hip and cool."
culater
iTunes -- the "i" doesn't stand for innovation
As songs are increasingly sold one by one online, the musical creativity and risk-taking associated with the album format will decline.
- - - - - - - - - - - -
By Sahar Akhtar
June 18, 2003 / I bought Tool's most recent album, "Lateralus," because I couldn't get the harsh yet slightly ethereal guitar of "Schism" out of my head. The repetition of its play on a hard-rock station, like the repetition of the final guitar segment, had me whipped. After listening to the song over and over, I turned to the other tunes on the album where, I discovered, the real integrity and uniqueness of Tool's artistry resided. In the end, my favorite song on the album, and perhaps the best by any measure, is a track I have never heard on the radio.
Sound familiar? How many times have you bought a band's album for an overplayed song, only to discover that the more gratifying tunes are the ones you've never heard before? But now that iTunes and other online music vendors have finally arrived, don't expect to experience that same epiphany in the future. iTunes is helping to usher in an era where songs are sold individually, thus putting an end to what I call "bundled innovations."
The idea is based on simple economics: To sell any song on hardware -- whether vinyl or CD -- artists and labels have to incur a high one-time, or fixed, cost; but after that, more songs can be added at very low additional, or marginal, costs. To cover those high fixed costs, musicians are encouraged to create prosaic pieces that target as large an audience as possible, but then the low marginal costs for additional songs mean they can take a gamble on other, more original and creative tunes.
Music bundling means that the sure things that are catchy but utterly forgettable, together with the not-so-sure things that can surprise and sometimes nourish our artistic hunger, both end up in the hands of consumers and critics -- who can then sample the latter for free. This exposure of chancy ideas is a great boon to the creative process. But because of the discrete selling and buying of music, digital single by digital single, that iTunes and its kin will foster, we can expect a decline in music bundling, and thus in risk-taking and its shy companion, innovation.
The music biz has been here before: during the brain-dead era of the 45. In the 1950s and early '60s, the 45 was the medium of choice for popular music. The problem, at least for innovation, was that the 45 only allowed up to three minutes of recording on each side. This limitation on space sent the marginal cost of selling music soaring and forced record labels to view the B side as another vehicle for mass-appeal music, and not as a stage on which to experiment. Since there were only two pieces released at a time, B sides were targeted for radio play and for popular consumption in the same way that A sides were. Not surprisingly, most two-sided hits in the Billboards rankings are from before the use of the LP, eight-track, and cassette.
The ultimate in bundled innovations occurred when the main product emphasis shifted from the single to the album, from the 45 to the LP and cassette. This technological shift paralleled the taking off of rock. Once the 45 straitjacket was broken, creativity and bundled innovations blossomed.
Today, armored by the tried and true, musicians can take a crack at the risky in a market where loyalties are shiftier than the Bush administration's stance on Iraq's WMD. For instance, on the B side of their popular singles, Sarah McLachlan and Tori Amos have released songs that are stylistically and thematically unlike the pieces on the full album. (Even though the singles are actually additional cuts on the same "side" of a CD single, they are still referred to, in the business, as B sides).
Many musicians bundle covers of old popular songs with their own pieces to establish themselves. The Red Hot Chili Peppers were resolutely underground until they decided to cover Stevie Wonder's "Higher Ground" and get some MTV airplay. Love and Rockets did the same with The Temptation's "Ball of Confusion." The Rolling Stones' transitional period is characterized by two albums, "Out of Our Heads" and "December's Children." Both contained many popular R&B covers along with their new ideas, which continued to flourish over the next five albums.
With nothing to lose, artists might throw in some junk to see how it stands in the view of consumers and critics. And even if the artist doesn't intend to test an idea, an innovation can emerge from the filler. The Who's Pete Townshend wrote and tied together four three-minute songs on the end of the band's second album essentially just to extend the length of the album. What resulted was a mini-opera, the first "rock opera," titled "A Quick One While He's Away," which, some critics claim, launched the band into recognition.
To take just one platform for popular music, singles are still notoriously one-dimensional -- that is, at least the A sides are. This is because the A side is overwhelmingly targeted for radio and MTV play so that it ranks high on the Billboard Top Charts. Radio programmers might only listen to three or four seconds of a song before liking it or tossing it. So the A side has to have an immediate emotional impact, and its length has to fit the formulaic length of three to four minutes. We all know that popular songs have a standard structure: They don't take long to get the overall feel and direction of a tune established -- usually no more than 10 to 20 seconds -- and then they don't deviate from it.
What it all comes down to is this: For a record to be played and make the rankings, mass appeal and inclusiveness are essential ingredients. "It's a mass-appeal game, not a novelty game," an executive at a major record label conceded to me. This doesn't mean commercial music is all bad -- I confess, I've given in, more than once, to the likes of "Oops I Did It Again." Mainstream hit singles can resonate, they can be fun, and they can just be plain good. But let's not confuse that with risk-taking in art.
"B sides" and the noncommercially oriented tracks that fill out a given album have always been the artistic payoff. Unlike the A sides, the B's can be far more subtle, complex, varied in length, and even irreverent, offensive, or disturbing -- all potential marks of innovation. The Beatles set the standard: After "Rubber Soul," it was clear that Lennon and McCartney were heading down different roads. In a sense, the high fixed costs were incurred for McCartney's innocuous and commercially friendly love ballads on the A sides, while the group was able to be musically daring with Lennon's more avant-garde and experimental compositions.
There's more than just anecdotal evidence that the B side is where creativity lurks. A sides are faithfully more standardized than their counterparts. Out of a sample of 200 popular singles released in the fall of 2000, B sides, sometimes as short as 30 seconds and as long as 22 minutes, were much more varied in length than the A's. Out of another sample of more than 20,000 singles, the number of professional songwriters employed for the A's was higher than 1,200, whereas for B's, fewer than 300 pieces were the work of professionals.
While 1,055 A sides were covers of other artists' hits, only 80 B sides were covers. Songs chosen for covers are usually pretty simple in composition and conceptualization. Thus, songs picked for covers typically have both accessibility and general, but not intense, likability. Also, since covers are remakes, they are obviously more standardized than non-covers.
Even in some of the most hackneyed genres of pop music, bundled innovation has flourished; musicians have attached riskier pieces onto sure-bets to expose and get feedback on their more precarious ideas.
But it won't always be that way: Apple's newly released iTunes allows individual songs to be downloaded, with good-enough sound quality, for a mere 99 cents. This is good for business but bad for music.
While artists and labels may now be worrying less about losing revenue to digital copycats, iTunes is de-bundling music. After the first week of iTunes' implementation, Apple reported that half the total songs purchased were parts of albums, but if you think about it, that's not a big deal. With roughly 12 or more pieces per album, that's a lot fewer albums sold than single songs. NPD Techworld analyst Stephen Baker wasn't surprised that album sales were strong in the beginning -- "When people move to a new format, one of the first things they want to do is get albums from their favorite artists, like the Eagles or Nirvana, in the new format." Since most people's favorite music is stuff that's been around, this won't do anything to foster innovation in new music.
For new music, consumers might still buy some full albums, but it won't match the buying of albums on CD. iTunes makes it too easy and cheap to be selective -- a CD single frequently costs upwards of $4 and more, but an iTunes single costs less than a buck, and there's good reason to think the price will go even lower. Plus only one or two songs from an album are usually sold in the single format, but iTunes lets you buy many, if not all, of the artist's songs separately. Consumers can buy exactly what they want, and no more.
Instead of tunes that were able to dodge the traditional commercially oriented gatekeepers by being attached to other tunes that did follow the rules of the game, each individual iTunes will be subject to the pressures of mass appeal. Consumers will likely purchase songs they know from radio, and thus become subject to the whims of programmers who are governed by commercial, not artistic, interests. iTunes allows a 30-second preview of songs, but we know that some of the best tunes don't even get going in that time. The 30-second preview just reinforces the need for each tune to be catchy and pleasing right up front.
Consumers of iTunes won't be able to sample for free other full pieces by the musician, and so will bypass the chief passage to the musician's more remote work. And in turn, with the growing popularity of iTunes, producers of music will be inhibited from taking musical risks since each piece will need to stand alone.
For now, this digital option and others like it complement the hardware world of CDs, with many consumers still buying CDs; but as online music sales grow, the sale of CDs will continue to decline, and digital music will come to reign supreme. When this happens, we can expect very little bundled innovation -- making the artistry of bands like the Beatles, the Doors and Tool potentially a thing of the past.
culater
ot-HP Weighs Taking Media Center Mobile
By Mark Hachman
Discuss this now (1 posts)
If you can take a DVD movie on the plane with you, why not a TV show?
That's the thinking at Hewlett-Packard, where company executives acknowledged they're evaluating how to bring the company's Media Center PC features to notebook computers.
ADVERTISEMENT
HP appeared at CeBIT America in New York City Wednesday morning armed with a slew of announcements: several new notebooks, including a widescreen model; upgrades to the company's desktop line, and a new feature to quickly access contact information from a Tablet PC.
Although a number of OEMs have designed innovative new PCs and business models, chip suppliers and Microsoft design engineers have said that HP is the OEM most willing to risk an entirely new design. HP was the first to ship a PC using Microsoft's Windows XP Media Center Edition. Microsoft also partnered with HP to develop the Agora communications PC, shown off at the WinHEC show in New Orleans last month under the name "Athens".
Now, HP officials said that they're considering how to take the Media Center PC on the road. With more and more notebooks including DVD-ROM drives, customers are providing their own in-flight entertainment with DVD movies. Television shows could be the next step, copyright issues aside.
"One of the key focuses with us is to extend the HP brand into every room in the house," said Kevin Frost, vice-president of worldwide marketing for HP's notebook unit. "One of the strategies in extending the HP brand extends to the notebook computer…one of the cool things is broadband and the wireless realm of wireless home networking, taking computing into the backyard, for example.
"So now we're thinking, hey look, rich media capabilities we can add to notebooks, compelling PVRs, the whole concept of looking at TV shows in different parts of the house. So we're going to look at them. They may have some value on the road, so we are exploring them."
culater
ot-Nokia, Sony Ericsson Strike Deal For MP3 Mobiles
Discuss this now (1 posts)
Thomson licensed its MP3 music technology to both Nokia and SonyEricsson on Wednesday afternoon, setting the stage for licensed, MP3-enabled cell phones.
Thomson, which controls the licensing for the combined Fraunhofer/Thomson MP3 patent portfolio, said the deal would expand upon the estimated 100 million devices which can play MP3 players today. Thomsaid it expects that number to increase by 50 percent by the end of this year.
ADVERTISEMENT
Thomson's royalty rates for hardware manufacturers call for both Nokia and Sony Ericsson to pay at least $0.75 per hardware decoder per unit, with a minimum of $15,000 per year paid to Thomson. The royalties can either be paid by the OEM or the codec manufacturer.
"These licenses will allow for widespread implementation of mp3 technology in cell phone products manufactured by Nokia and Sony Ericsson," said Henri Linde, vice president of new business for the Patent and Licensing unit of Thomson, in a statement. "The licenses further underscore the continuing expansion of mp3 technology throughout the burgeoning cell phone marketplace."
Previously, Sony developed the HBM-30, a standalone MP3 player that also doubled as a hands-free accessory for its cellular handsets.
culater
Tolerance training
Matthew Miller, Special Projects Editor -- 6/16/2003
CommVerge
A cat and a dog may tolerate each other at a distance, but lock them both in one room and the fur is sure to fly. The same is true of Bluetooth and 802.11b/g.
Both wireless technologies operate in the 2.4-GHz frequency band, which makes interference inevitable. If some distance separates an 802.11b/g system and a Bluetooth system, both can still operate, albeit at lower efficiency. But the closer the two get, the more damaging the interference becomes—to the point where they effectively annihilate each other.
So imagine the dilemma of the handheld designer, who is asked not only to place both wireless technologies into the same tiny product but also to make sure they can both function simultaneously. For example, the user of an all-purpose wireless device will expect to be able to talk on the phone via a Bluetooth headset while also downloading a presentation via 802.11b or 802.11g.
Products from companies such as Mobilian and Intel have offered solutions to the 802.11-Bluetooth "coexistence" problem for some time, but those products are intended for use in notebooks. Texas Instruments today introduced its offering for handheld platforms, where the space restrictions make the problem more severe.
TI's Bluetooth/802.11 coexistence system works with the company's existing and future 802.11 and Bluetooth processors. The technology centers on a "coexistence bus," which connects the Bluetooth processor and the 802.11 processor in a system. This connection allows an algorithm running on the 802.11 chip to keep tabs on what the Bluetooth side of the system is up to, then adjust the activity of both the 802.11 chip and the Bluetooth chip to optimize throughput.
The algorithm dynamically allocates bandwidth between the two wireless connections in order to prevent collisions and gives priority to time-sensitive data, particularly Bluetooth voice packets, according to Matthew Shoemake, director of advanced technology for TI's wireless-LAN business unit. This dynamic operation is critical to providing a satisfying user experience, Shoemake says, contrasting TI's technology with others that use a static bandwidth allocation. For example, if either of the wireless links becomes inactive, the other is then free to operate at its maximum potential.
Moreover, TI's technology imposes no antenna-isolation requirement on a system incorporating both technologies. In systems based on coexistence products with such a requirement, the two antennae must be physically separated—sometimes by many inches. TI's technology allows the two to get along in very close quarters, according to Shoemake. "I don't know of any PDAs or cell phones that are a foot or more long," he says.
Finally, the technology works with TI chips for 802.11b, 802.11g, Bluetooth 1.1, and Bluetooth 1.2. This flexibility allows designers to mix and match as they wish to build diverse product lines, Shoemake says.
TI says a key customer will roll out a product featuring the coexistence technology, a small-form-factor device offering simultaneous Bluetooth and 802.11 operation, in September. TI will make the technology generally available in Q4 and expects other manufacturers to roll out products in early 2004.
http://www.e-insite.net/commvergemag/index.asp?layout=article&articleid=CA305474&pubdate=6%2...
culater
Compressed expansion
Matthew Miller, Special Projects Editor -- 6/16/2003
CommVerge
Compressed audio is leading to an expanded market opportunity, according to a new forecast from market researcher IDC. The firm says broad consumer acceptance and a diversity of available player types will drive the worldwide market to nearly $44 billion in revenue by 2007—a 30 percent CAGR (compound annual growth rate) over five years.
The report notes that although players based on flash memory and hard-disk drives will show impressive growth, the "other" category—encompassing devices to which manufacturers add compressed-audio handling as an additional feature—will drive future shipment and revenue growth. Examples include conventional CD players, DVD players, game consoles, and PVRs (personal video recorders), according to IDC analyst Susan Kevorkian.
IDC predicts 24 percent CAGR over the forecast period for flash-memory-based players, thanks to the declining cost-per-megabyte of flash chips. However, the report throws some cold water on what—at least according to media buzz—is currently the hottest segment: hard-disk-based players. IDC claims that the cost of hard disks will inhibit growth in the segment by keeping end-user prices above $200. That may be so, but with hard-disk capacities still rocketing upwards, buyers who are willing to part with more money will enjoy capacity sufficient to tote around their entire collections.
http://www.e-insite.net/commvergemag/index.asp?layout=article&articleid=CA305530&pubdate=6%2...
culater
Economists: 'stars aligned' for recovery
- - - - - - - - - - - -
By MARTIN CRUTSINGER
June 15, 2003 / WASHINGTON (AP) -- For the past three years, the U.S. economy has taken hits from the bursting stock market bubble, a recession and terrorist attacks. Conditions now, finally, offer the prospect of better growth over the last six months of the year.
Of course, forecasters acknowledge, they made similar predictions in 2002 and 2001, and were proved wrong.
They now insist that new tax cuts, a weakened dollar, falling interest rates and other positive forces seem to give their latest optimistic forecast a better chance of becoming a reality.
"We have been waiting and waiting for the economy to rebound, and then something happens and things fall apart. But this time we have a lot more stars coming into alignment," said Diane Swonk, chief economist at Bank One in Chicago.
For one, manufacturing companies that have shed more than 2 million jobs over the past three years are starting to see omens of better days. That is due in part to the weaker dollar, which makes their products more competitive on foreign markets.
"We are seeing a very nice improvement in orders," said Tony Raimondo, president of Behlen Manufacturing Co. of Columbus, Neb. Demand for the company's steel buildings and other metal products has risen 20 percent in recent months.
Jerry Jasinowski, president of the National Association of Manufacturers, says other companies are reporting similar increases. The trend raises hopes that the decline in manufacturing employment may end soon as businesses that have slashed inventories start to step up production to meet demands of new orders.
Help on the demand side is coming from the $330 billion tax cut just passed by Congress. Consumers will begin seeing their shares in paychecks starting next month.
David Wyss, chief economist at Standard & Poor's in New York, said he believed the tax cuts should add as much as 1.5 percentage points to growth over the next year.
As measured by the gross domestic product, the overall economy has averaged growth of less than 2 percent over the past nine months. Wyss is predicting growth will jump to a 3.5 percent rate in the July-September quarter and 5 percent in the final three months of this year.
"The government is doing its part to get the economy going again," Wyss said. "We are running big deficits, reflecting higher spending for defense and the tax cuts."
He said growth should average between 4 percent and 4.5 percent for all of 2004. That pace would begin to make a dent in the unemployment rate, which was at a nine-year high of 6.1 percent in May.
Improved growth cannot come too soon for incumbent politicians such as President Bush, who face re-election in 2004.
Many analysts believe the jobless rate will peak at around 6.4 percent this summer before gradually improving as the economy grows.
"To reassure his re-election, Bush needs to see the unemployment rate closer to 5 percent than 6 percent," Swonk said. "That will make voters happier with incumbents."
Most analysts believe the country's first recession in a decade, which began in March 2001, probably ended in December 2001. The rebound has been jagged, however, with one quarter of strong growth followed by a weaker one as the economy has had to deal with different kinds of jolts.
A year ago, analysts thought the economy was poised for a sustained takeoff. Then the stock market began to tumble again because of worries about corporate accounting scandals. Also, rising oil prices spurred by war worries before the Iraq invasion sent consumer and business confidence into tailspins.
Many of those negative factors seem to be fading, helped by the tax cuts to bolster consumer confidence and a weaker dollar that has lifted manufacturers' fortunes.
The Federal Reserve, which has driven interest rates to a 41-year low, is signaling readiness to reduce rates again. The goal would be to ensure the nation's prolonged period of economic weakness does not lead to a Japanese-style bout of deflation, falling prices that would make it even harder for the economy to gain steam.
The central bank's next meeting is June 25.
Is it possible that all the expectations of stronger growth could be dashed again?
Analysts say the biggest dangers are political crises in the Middle East, North Korea or elsewhere that could undermine the stock market rebound, drive down consumer confidence and lead to higher oil prices.
"The things to watch will be energy prices and consumer and business confidence," said Sung Won Sohn, chief economist at Wells Fargo in Minneapolis. "But let's hope we are right this time around."
culater
Cost reallocation, reduction put new spin on rotating storage
By Brian Dipert -- 6/12/2003
EDN
Pundits have long pontificated on when and if the price-per-bit of semiconductor memory will cross under the magnetic-storage cost curve. Looking at the situation from one perspective, magnetic storage is winning the tug of war by a large margin. Bargain shopping quickly unearths 100-Gbyte hard drives for much less than $100, and magnetic tape is even less expensive. DRAM and flash memory aren't selling for anything near $1 per gigabyte and won't be for a long time to come. If you view the situation from a different angle, however, semiconductor memory has seemingly won out. It's nearly impossible nowadays to find a 1-Gbyte hard-disk drive, except perhaps in a surplus store; flash-memory cards have taken over that business.
The answer to the "which-is-cheaper" question depends on the end application and its required density and on other factors, such as performance, power consumption, and ruggedness. If the systems you design need lots of storage capacity, and price is your paramount concern, hard drives will likely win the fight. When storage requirements plateau, though, or when factors other than price come to the forefront, hard drives' downsides become more apparent, and the battle turns in semiconductor memory's favor. Cornice's Storage Element, roughly the same size and thickness as a CompactFlash card, finds itself between these application extremes (Picture). The 1.5-Gbyte device's density encroaches on the high end of flash memory's territory, which Toshiba's (www.toshiba.com) recently announced, 2-Gbit, single-level-cell flash memory reminds us, is ever-expanding.
The Storage Element's $65 (100,000) price may at first seem attractive. Consider, though, that less-than-$160, 1-Gbyte CompactFlash cards are now flooding retail channels. Subtract the retail-margin markup, along with the cost of the memory controller, card housing, and other overhead, and you get a raw flash-memory price of less than $100. Cornice's executive team has an extensive background working for various hard-disk-drive manufacturers, so it's not too surprising that the Storage Element builds on a hard-drive-like foundation, including servo and preamp ICs. Cornice moved the mass-storage controller into a separate 200,000-gate, $4 (100,000) Transition IC, which, as its name implies, Cornice views as an interim step to your ultimate integration of the required logic circuits, along with 48k words of firmware and 40 kbytes of rate-matching FIFO memory, into your system ASIC. Toward that end, the company plans to provide royalty-free Verilog code detailing the Transition IC's functions. The Storage Element's minimum sustained-transfer rate for a continuous file and single track is 4 Mbytes/sec; its minimum continuous-file, multitrack counterpart is 2.7 Mbytes/sec.
Cornice representatives are careful to point out that the product is not simply a shrunken hard drive. The company did not design the device for multithreading or multitasking, and it does not support PC-like buffering and elaborate caching, all features that company officials believe are relatively unimportant in Cornice's target markets: digital-audio players, PDAs, digital-still cameras, videocameras, and the like. A 20-conductor bus interconnects the Storage Element and Transition IC, and the Transition IC communicates with the rest of the system over, according to Cornice, a bus that is "similar to a CompactFlash True IDE Mode interface." Development partner Texas Instruments (www.ti.com) plans to build the 20-conductor Storage Element bus directly into future generations of its DSPs and system CPUs. Cornice plans to begin shipping 2-Gbyte Storage Elements by year-end, and, assuming that the technology's success leads to high volumes and consequent cost efficiencies, the company believes it will be able to sell Storage Elements for less than $50 by the middle of the decade.
Typical current draw for the 3.3V Transition IC in read, write, sleep, and nonoperational modes is, respectively, 90 mA, 90 mA, 5 mA, and 100 µA. The 3.3V Storage Element will survive a 1m drop, and 1.5m-drop tolerance is on the way. In spin-up, read, write, idle, and nonoperational modes, its typical current draw is, respectively, 207 mA, 226 mA, 235 mA, 30 mA, and zero. Company literature states that you can achieve the "lowest power consumption when the host system maximizes the time that the Storage Element and the Transition IC are in the nonoperational mode...when the host-system RAM can buffer enough data and cache the file-system data structures to minimize accesses to the Storage Element and Transition IC." Assess the likelihood that your software's access patterns will enable you to power down the Storage Element during a high percentage of total system uptime. Also assess the cost and power consumption of the required buffer memory and the 1.5-sec maximum Storage Element delay from power-off to ready when comparing the overall viability of Cornice's product with that of alternative mass-storage technologies.
http://www.e-insite.net/index.asp?layout=article&articleId=CA302252&title=Search+Results&...
culater