Spring is the time when a young man’s fancy turns to….audio shows?!?
In North America, anyway, this is the start of the show season. The Montreal show actually precedes spring, as you’ll see in the snowy photos accompanying Larry Schenbeck’s show report. Before you know it there’ll be Axpona, Munich, the LA Audio Show, the California Audio Show, The Home Entertainment Show (THE Show), RMAF, TAVES (Toronto), the Capital Audio Fest (CAF), New York…. and dozens more in Europe and Asia.
In North America alone there are periods where you could attend a show every weekend, and worldwide, that trend extends for most of the year. That’s why old-timers often long for the days when there were Winter and Summer CES, and not much more. While this may be a bonanza for hungry audiophiles, you can imagine that it can be a strain on manufacturers and distributors who must pick and choose where they exhibit. And pity the poor audio mags and websites!
We at Copper certainly won’t hit them all, but we hope to see a few more during the course of the year.
This issue we introduce two new contributors: first, Anne E. Johnson, an author, musicologist and former contributor to Tower Records’ Pulse magazine who will be writing a regular column on indie artists, ...And Indie For All; in addition, Anne will periodically contribute record reviews to Something Old/Something New. Her reviews of Gregorian chant recordings this issue will show that she can be tough—even to monks!
Our second new contributor is John Seetoo, a writer/editor/consultant/musician who will be conducting interviews of musicians and audio industry folk, starting this issue with David Chesky. David falls into both camps, and I think this interview will leave you impressed with both David and John.
Professor Schenbeck pulls double duty this issue, with a column about an interesting period in Schoenberg‘s life and a feature about his visit to the Montreal audio show. Dan Schwartz brings us the pioneering minimalist synth work of Mother Mallard; Richard Murison writes about imaginary numbers in the real world; Jay Jay French tells us about his experiences pursuing perfection; our resident recordist Duncan Taylor introduces the intriguing music of Rossonian; our second bass-player, Woody Woodward, talks shop about bop; and I write about bad sound and vintage audio kits (no, the two aren’t connected. Usually).
High Society introduces the San Diego Music and Audio Guild, and Industry News brings the latest doin’s of our wacky friends at Schiit, and data on record sales from the RIAA. Jim Smith and In My Room will return very soon. We wrap issue #30 with a striking Parting Shot from Richard Murison, who proves he has good eyes as well as good ears.
Just a couple reminders: we’d love to help audio societies publicize their activities and upcoming meetings. Let us know about what you’re doing, or write up a recent event—send it and some clear pics to us via the email tab at the top of the page, and we’ll get you up on High Society. Also: proud of your special system, and your room? Send us the details and pics, and you might be featured in In My Room.
As always, thanks for reading, and for writing!