AfterTV is a new site featuring live interviews about the state of digital media, culture, and technology. I got to sit in the hot seat recently and got some new insights about all three.

Recently I posted about the Fallacy Of Composition (which says that an advantage shared by everyone is not an advantage) and how it applies to digital music: If everyone can make and distribute music cheaply, the price they can charge goes down and they all make less money. It should apply to open source as well. Is there an escape route?

Thanks to digital media & the Internet, anyone can record their music and make it available to the world, and that's a good thing, right? Not necessarily for musicians. One way to explain why is in terms of the Fallacy of Composition, as cited by Jeremy Siegel in his new book The Future For Investors.

I need a 3W signal booster for my home. I remember when I had a 3W analog cell phone that couldn't drop a call if I drove underground and wrapped my car in tinfoil. I met these guys at CES - put one of these in your home or car, and get the repeater going. It's technically a mini-cell tower repeater I think.

Although web technology has evolved over the years, for the most part, it has remained silent. Will faster and cheaper bandwidth or the partnerships of Internet giants and entertainment conglomerates bring us an audible web? Do surfers even want sound-enhanced websites? Do You? Let your voice be heard!

Are we in a new kind of productivity crisis, one in which there is not too little productivity, but too much?

Here’s a happy surprise: When you burn an iTunes podcast file to CD, iTunes converts the chapters into CD tracks. Plus—a simple AppleScript that lets you jump to the exact second you want to hear in a long audio file.

Yesterday at Macworld, I got a chance to ask DVD expert Bruce Nazarian a question that has baffled me since I started making DVDs: How the heck do you avoid the glitch when the menu music loops?

How did Steve Jobs convince record companies that he could save them almost four dollars per album--and that they they should give almost all of it to Apple? And: how much value does a Long Tail business model have to generate?

My recent cover story for Electronic Musician magazine, "The Art of Podcasting," is now online for free. Apple was pretty tight-lipped when I was writing it, though, which made me wonder: What podcasting surprises does the company have up its sleeve?