Written by Frank Doris

You can only put so much of an input signal into an amplifier before it won’t deliver any more output. The amplifier starts clipping. If you look at a sine wave on an oscilloscope, instead of having nice rounded peaks at its highest amplitude, the top of the wave literally looks like it’s clipped off. The result: distortion.

My brain acts the same way. We’re all subjected to endless phone calls, e-mails, text messages, commercials, robocalls and other distractions. When I get overloaded with the endless bombardment, my brain starts clipping. It simply won’t accept any more input! The solution – although easier said than done, avoid situations where I know I’ll run out of headroom.

In this issue: Wayne Robins reviews the landmark Bob Dylan – 1970 collection. Ray Chelstowski interviews Jorma Kaukonen. Anne E. Johnson covers the careers of Alicia Keys and Josquin des Prez. Octave Records offers its first jazz release, Gabriel Mervine’s Say Somethin’. Russ Welton contemplates transparency in audio, while Alón Sagee ponders Mount Everest. Adrian Wu takes a deep dive into reel to reel tape. Ken Sander picks up an interesting hitchhiker (his name is Alice). Tom Gibbs covers new music from Mogwai, Tindersticks and The Pretty Reckless.

WL Woodward delves further into the career of John Mayall. Rich Isaacs continues his interview with synthesizer pioneer Dr. Patrick Gleeson and I talk with Andrew Hoffman of Audiophile Archive and Grading Services. Galen Gareis concludes his series on cable design. J.I. Agnew is in the middle of a very big move. Nils Lofgren bounces by John Seetoo and Stuart Marvin celebrates unsung musical hero Nicky Hopkins. Rudy Radelic embraces music streaming. Jay Jay French was there when many live concerts were recorded. Our AV squad encounters a seeker, expensive audio gear, free audio gear and a high-performance driver.

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