MP3 is as dead as a Dodo. What's next

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MP3 is as dead as a Dodo.What's next?
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• As the digital future unfolds, new audio
  technology will revolutionize the way music is
  created and heard. In the future, the music
  public will move beyond passive listening to
  become fully interactive with recorded music.

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• The popularity of karaoke (Japanese for
  "orchestra minus one"-the lead vocal) during the
  late twentieth century was a wake-up call to the
  recording industry from music consumers.
  Audiences wanted to do more than just listen to
  music they wanted to sing or play along
  themselves. What was once a revolutionary concept
  has quickly become commonplace. Now, guitarists,
  drummers, and other musicians can also play to
  karaoke-style recordings that omit the desired
  instrument.

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• "Tomorrow's music novices will demand worlds of
  musical adventure in which they are invited to
  alter the music while listening with very
  imaginative and approachable formats," says Tim
  Renner of Germany's Motor Music Recordings.

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• New audio mixing and downloading technology will
  be the driving force behind the listening
  revolution. With hand-held wireless devices,
  listeners will connect with favorite songs at
  home, in a car, or walking down the street, then
  use an assortment of clicks and keys to alter the
  music as readily as they now alter text files,
  and save their customized creations in musical
  play lists, listening scrapbooks, and toolboxes
  for future use.

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• By mid-century, passive listening will be passé.
  When cassettes and CDs are a distant memory,
  music will no longer be costly, inconvenient, and
  listener-confining. Music from every culture will
  be instantly available from a one-stop musical
  network with state-of-the-art security
  safeguards. Using personal sound accounts, music
  consumers will download music for only pennies a
  song.

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• The old supply-side approach to music-with
  composers, songwriters, performers, and recording
  labels forever in search of listeners,will be
  replaced by a new demand-side approach, with
  listeners and listening in charge for the first
  time.

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• No longer listeners but Sound smiths, the public
  will alter music using a wide range of sound
  features, adapted from today's electronic
  keyboards, audio workstations, and professional
  recording studio devices. MIT's Media Laboratory
  director Nicholas Negroponte believes users will
  one day launch their own personalized musical
  search engines to fetch, for example, only the
  stirring themes from their favorite love songs
  from the 1990s to accompany them during a
  romantic evening on the town.

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• The enthusiastic listening novice won't have to
  wait until mid-century to experience tomorrow's
  listening revolution. Many-innovative
  applications of Sound smithing technology are
  perhaps some years away, in part due to the music
  recording industry's reluctance to package
  listening experiences as opposed to selling
  recordings, but some developments in audio
  technology are moving rapidly.

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• Satellite radio systems, such as XM and Sirius,
  which transmit digital audio signals by
  satellite, allow audience members to drive from
  coast-to-coast while listening to their favorite
  music noise-free and with few interruptions. The
  new spatial listening experiences the public
  enjoys in IMAX theater productions are beginning
  to enhance recordings, providing music that
  sounds as if the performers are moving around the
  audience in real time and space.

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• MP3 players, Napster, burnable CDs, and other
  innovations represent a show of hands for
  on-demand, self-directed music couple that with
  the desire for interactivity seen in the karaoke
  phenomenon, and with the demand for portability
  (Walkmans and cell phones), and we can easily
  foresee a future for Sound smithing