Copper

This issue's cover: conductor Leopold Stokowski (1882 - 1977). One of the greatest conductors of all time, Stokowski helmed the Philadelphia Orchestra, the NBC Symphony Orchestra and other top musical organizations and appeared on many famous RCA "Living Stereo" recordings, among others.

Streaming audio is wonderful. (Well, except for artists getting stiffed – not so nice.) We can just think of a song and a few mouse clicks later, hear it.

That said, so many of us like physical media. Whether we prefer the sound of vinyl, have been buying CDs since the 1980s or just like to collect stuff (guilty as charged), there’s a certain satisfaction with owning the music and knowing it’s yours, not for rent on some server that might as well be in Andromeda.

I saw an interesting parallel at last year’s PHOTOPLUS show. Photographic film is becoming more popular. Yep, that stuff that photographers load into their cameras in the dark. One of the booths, Freestyle Photo and Imaging Supplies, even had a sign that said, “Rediscover the World of Analog Photography.” It got my attention. Freestyle’s Patrick DelliBovi informed me that these days, they’re selling a lot of film, photographic paper and even new Polaroid SX-70 cameras! He told me that among other things, their customers want tangible and physical photos, not an ephemeral digital file on a computer or cloud. Sound familiar?

In this issue: new to these pages, consumer electronics writer an Ken Sander, who used to be the road manager for Kiss, tells what it was like. Anne E. Johnson gives us a slice of Bread and a look at early string-instrument composer and lutenist John Dowland. Robert Heiblim offers insight into the demographics of today’s listener. I reminisce about Harry Pearson’s haunted house. John Seetoo offers Part One of his CanJam NYC 2020 show report. What, technically, is linearity in audio? J.I. Agnew gives us straight talk in his new series.

Tom Gibbs gets introspective and a little melancholy with reviews of Beach Bunny, Ben Watt and more. Professor Larry Schenbeck views musical landscapes from Beethoven, Ives and others. Dan Schwartz asks: why is vinyl sounding more digital? Bob Wood tells about his last radio station gig. WL Woodward concludes his series on Grateful Dead sonic wizard Owsley “Bear” Stanley. We run some readers’ responses to the question Magnepan’s Wendell Diller asked in Issue 105: Are audio dealers in trouble? James Whitworth wonders why he can’t clean up his record, Audio Anthropology indulges in some casual listening and our Parting Shot visits a desolate yet storybook landscape.

(With a tip of the hat to the Hank Stone Band’s song of the same name.)

The world of audio is diverse – we can choose from analog, digital, tubes, transistors, a vast array of loudspeakers and many more ways to enjoy music. The people behind the products are just as diverse, which is a big reason why the choice of audio products is so varied today. One look at Facebook, online audio forums and our own Comments sections makes it apparent that enthusiasts have a variety of opinions too (to say the least).

It’s all a community, as PS Audio founder Paul has noted to me, and Copper was created in part to foster that sense of community and dialog. It’s the shared passion that makes all of this so much fun.

In this issue:

Copper is honored to welcome Ivan Berger to our pages. He’s contributed to Stereo Review, High Fidelity, The New York Times, Popular Science and more than 100 other publications. He was co-technical editor at Video, (which got him into the Consumer Electronics Hall of Fame), technical editor at Audio and is the author of The New Sound of Stereo.

Wendell Diller, one of the guiding lights behind speaker company Magnepan, gives us a thought-provoking guest piece asking: are audio dealers in trouble?

Anne E. Johnson covers country and bluegrass star Alison Krauss, and jazz drumming legend Gene Krupa. Jay Jay French turns the Tice Clock back to look at the evolution of his audio systems. WL Woodward drops Part Three of his series on Grateful Dead sonic mastermind Owsley “Bear” Stanley. Ivan Berger remembers the groundbreaking AR XA turntable. Professor Larry Schenbeck does the Happy Dance over Joshua Redman's Sun on Sand.

J.I. Agnew delves further into the Secrets of the Phono Cartridge. Rich Isaacs gives a comprehensive look into American progressive rock bands. Radioman Bob Wood has WBEN there and ROCK 102’d that. Roy Hall's Key West vacation doesn’t go as planned. In “Confessions of a Setup Man Part Two” I encounter more audio system mayhem. Dan Schwartz discovers the musical ecstasy of Alice Coltrane Turiyasangitananda. Rounding out the issue, James Whitworth sees double, while Audio Anthropology has its moment and our Parting Shot gives us the lowdown.

Copper has been moving to increase its audio-related articles. We intend to bring you more about audio tech, interviews and company profiles, show reports and other audio subjects.

That said, our music and other coverage of "the good stuff," as the masthead proclaims, will continue to flourish. We have an exceptional group of writers, not just IMHO but others have noticed – John Seetoo got a Facebook shout out from master guitarist Steve Hunter himself, for John’s Lou Reed article in Issue 103. And how could Copper not write about Beethoven’s 250^th birthday?

In memoriam: The rock music world recently lost musician-composer-filmmaker Ivan Král (71), Patti Smith’s long-time bassist, guitarist and vocalist, and Andy Gill (64), guitarist for seminally influential post-punk band Gang of Four. Král played on many of Smith’s albums including the landmark Horses and wrote songs for Smith, U2, Simple Minds, Iggy Pop, David Bowie and others. Andy Gill’s sparse, cutting guitar style was a defining element of Gang of Four’s angular yet danceable sound and influenced uncountable guitarists to follow. I saw Gang of Four play The Ritz in New York in the early 1980s and they rocked the house so hard the roadies had to hold onto the PA stacks to keep them from falling over during the show. RIP.

In this issue: Professor Larry Schenbeck and Anne E. Johnson celebrate a monumental musical milestone: the 250^th birthday of Ludwig van Beethoven. Anne also traces the career of the Kings of Leon. WL Woodward contributes Part Two of his major piece on Grateful Dead sonic wizard Owsley “Bear” Stanley. Tom Gibbs finds more crates to dig through, from comedy to the Cramps. J.I. Agnew gives us the first installment of “Secrets of the Phono Cartridge.” Wayne Robins examines the Rock & Roll Hall of Fame.

Bob Wood finds that radio station hijinks know no borders. Roy Hall has a run-in with the cops and Don Kaplan with school delinquents. I initiate a new series, “Confessions of a Setup Man.” Dan Schwartz tells us how he almost hit it big in a project with AT&T Labs. John Seetoo adds Part Two of his story on John Strohbeen and Ohm Acoustics. The issue concludes with cartoonist James Whitworth recommending a sound pension plan, an A1 speaker system and a Parting Shot celebrating a special bond.

I’ve been thinking about this lately and seeing Paul McGowan’s recent related post on the subject made it hit home: no two audio systems are alike.

Think about all the source components, speakers, cables and accessories available – what are the odds of any of us having the exact same system? And even if, say, a dealer sold the identical gear to more than one customer, their rooms are different, and the room has a major influence on a system’s sound. Of course there are commonalities – I think those who’ve heard a Quad ESL could agree on its sonic personality, for example – but consider all the above and throw in the fact that every listener is different and it’s apparent that each of us enjoys a unique experience from our audio systems. For now, just an observation – and a subject that asks for further exploration.

In this issue: Anne E. Johnson looks at the rise, fall and rise of Rod Stewart, and gives us eight great tracks from jazz singer Nancy Wilson. WL Woodward begins a series on the outrageous life of Grateful Dead sonic mastermind Owsley “Bear” Stanley. John Seetoo examines Berlin, Lou Reed’s revered and reviled masterpiece, and talks with Ohm Acoustics’ president John Strohbeen, who has some very different ideas about loudspeaker design. Tom Gibbs goes crate digging!

Professor Larry Schenbeck concludes his interview with musicologist Steve Waksman, who takes us further into the career of Woodstock sound man Bill Hanley. J.I. Agnew has a warm look at the history of vacuum tubes. Rich Isaacs concludes his series on progressive rock titans Gentle Giant. Dan Schwartz continues his quest for audio system perfection, this time via AC power regenerators. B. Jan Montana contributes an incisive show report on NAMM from the perspective of an audiophile. Wrapping up the issue, cartoonist James Whitworth illustrates that some audiophiles have pointed opinions, Audio Anthropology looks at 1960s DIY audio furniture and our Parting Shot takes us to the beach at Puerto Vallarta.

It's 102 – I got a fever and the only cure is more music!

Announcing a new contributor: Wayne Robins. Wayne is a veteran music critic and journalist, former editor of Creem and writer at Newsday/New York Newsday, book author and adjunct professor at St. John’s University.

Time passages: It’s hard to believe that it’s been five years since high-end audio legend Harry Pearson passed away. Dan Schwartz and I both worked for Harry and the five-year anniversary seems like a timely occasion to tell our stories of what it was like to work for a man unlike any other before or since.

In this issue: J.I. Agnew concludes his ode to cassette tape. Professor Larry Schenbeck interviews musicologist Steve Waksman, who has unique insights into the career of legendary soundman Bill Hanley. Dan Schwartz tells us how he got into high-end audio, and he and I reminisce about Harry Pearson of The Absolute Sound. Bob Wood reminisces about radio station CHAM in the the Great White North. Roy Hall contributes a wonderful story about his zaida (grandfather).

Time for some country in these pages as Anne E. Johnson looks at the too-short life of Patsy Cline, and also examines Gluck’s Orfeo ed Euridice. Tom Gibbs covers Miles Davis and Harry Styles and tries to stay awake for Moby. Wayne Robins tells us why year-end best of lists ain’t what they used to be. John Seetoo looks at BandLab, a company you might not have heard of – but will. Finally, cartoonist James Whitworth finds that breaking up is hard to do, Audio Anthropology uncovers the untruth and other relics, and our Parting Shot captures an American musical master.

Numbers have been on my mind lately: 97, 98, 99, 100 and now Issue 101. Yet I’d been completely nearsighted about the fact that 2020, just around the corner, is also the start of a new decade. (My family, who knows how my mind doesn't work...er, works, would not be surprised at this.) Naturally, this new beginning prompts us to look back at where we’ve traveled in life until now, and where might be going.

In the audio world, who knows what future tech and the work of clever designers might bring? After all, look how far we’ve gotten at the end of 2019: hi-res audio, a vinyl renaissance, access to millions of songs via streaming and other media, the growth of live performance, wireless music delivery and much more. Where might technologies like graphene speakers, quantum computing, superconductivity and others lead us? Why not work towards the goal of a practical direct brain/music interface?

In 2020 technology will continue to bring us closer to the music than ever before. We also have a rich heritage to draw from, and the journey’s far from over. Those thoughts should fill us with excitement and happiness.

In this issue: new to these pages, Robert Heiblim gives us an insider’s perspective on the evolution of hi-res audio. John Seetoo wraps up his interview with live sound pioneer John Meyer. J.I. Agnew takes a fond look at cassette tape. Dan Schwartz tells us about a very special microphone. Alón Sagee recounts a sublime moment in music listening. Don Kaplan gives us a fascinating historical look at "Queen of the Salons" Élisabeth de Caraman-Chimay. Tom Gibbs reviews The Later Years, a monumental new post-Roger Waters-era Pink Floyd box set.

Anne E. Johnson covers the careers of jazz legend Hugh Masekela and pop powerhouse Tina Turner. Bob Wood is in and out and back in the broadcast booth at WAMS and WARM. Professor Larry Schenbeck looks at the songs of Beethoven and innovator Leoš Janáček. Rich Isaacs contributes part one of the mighty Gentle Giant story. I interview James Lee Stanley, a musical survivor worthy of wider recognition. Our audio-visual department features cartoonist James Whitworth going through a phase, domestic harmony in the Audio Anthropology recording studio and a starry finale.

This holiday season marks a major milestone for the magazine – the 100^th issue of Copper! I’m thrilled to be a part of it (and have been reading it since Issue 1) and give boundless thanks to everyone who has made it happen. Of course, it couldn’t have happened without you, our readers. Thanks for your support, comments, criticism, encouragement and enthusiasm.

On a somber note: Ken Ishiwata, the legendary Marantz engineer and brand advocate, has passed away at age 72. He was well known in the audio community for his tireless efforts in promoting Marantz and for putting his stamp on a long list of exceptional products. Although he had recently left the company, Mr. Ishiwata was a long-time international ambassador for Marantz, having been with the firm in various capacities since 1978. RIP to an industry titan.

Errata: through no one’s fault but mine, J.I. Agnew’s piece on the 1/4-inch tape format in this issue should have appeared in Issue 99. Sorry about the short between the headphones, J.I.

Credit: thank you Frank Schramm for the new headshot.

All of us at Copper wish you a happy and healthy holiday season!

In this issue: For Issue 100 Roy Hall tells a remarkable story about Erna, Holocaust survivor – and now 100 years old. Tom Gibbs takes another look at some of the most noteworthy records he’s reviewed. Richard Murison contemplates his time writing for Copper – and much longer than that. Professor Larry Schenbeck begins the first of a major series on Beethoven and comments on a work from a young Haydn. We revisit a piece from Dan Schwartz on microphones and sonic truthfulness. We have a special drawing from Cartoon Bob, and James Whitworth’s cartoon asks whether you’ve been bad or good this audio season.

Anne E. Johnson isn’t fooling around with articles on Talking Heads and Guillaume Dufay. Bob Wood feels the heat telling us about his stint at KRIZ-AM in Phoenix. J.I. Agnew offers variations on a theme of 1/4-inch tape. John Seetoo continues his interview with live sound audio legend John Mayer. Jay Jay French takes a sabbatical from his sabbatical with a Bob Dylan concert review. Woody Woodward gifts us a heartfelt Christmas story. I offer part two of our 2019 New York Audio Show report. Audio Anthropology is in there for good measure. Finally, our California dreamin’ Parting Shot is from B. Jan Montana.

We’re in the midst of the holiday season, a time of year that puts many of us in a contemplative mood. And although I don’t know anyone who leads a life without obstacles, all of us have a lot to be thankful for, especially when it comes to music.

Music is a source of joy, solace, excitement, fond memories, consolation, a way to connect with the artist, a way to remember loved ones who are no longer with us, a way to celebrate a new love, something to enjoy in private or share with family and friends...one of the many things in life to be endlessly thankful for.

In this issue: we’re thrilled to announce the addition of James Whitworth to our staff. James is a nationally syndicated cartoonist and writer based in the UK. His work has appeared in the Sheffield Star, Hi-Fi News, The Independent and others and in galleries. He is also the author of a series of crime novels.

Bob Wood tells us what life at a radio station was like in the uninhibited Seventies. John Seetoo offers part one of an interview with industry titan John Meyer, founder of pro audio company Meyer Sound. Anne E. Johnson goes from jazz to rock with pieces on the music of Coleman Hawkins and Led Zeppelin. Roy Hall tells us about Artek, a relative who gave him an appreciation for many things. Tom Gibbs looks at new releases from Jimi Hendrix, David Bowie and...a jazz band doing The Allman Brothers?

Rich Isaacs inaugurates a new series looking at progressive rock, a much-maligned genre for some, but not us! I contribute the first of a two-part report on the recent 2019 New York Audio Show. Dan Schwartz continues his exploration into audio system synergy and the not-so-smooth road he’s taken. Professor Larry Schenbeck offers insight into Joseph Haydn and his theatre work. In our new Audio Anthropology feature, we take a fond look at audio back in the day. Last but certainly not least, Woody Woodward tells us about the great Christmas hymns.

Frank

First of all, I want to give a huge thank you to our writers, Paul McGowan, Bill Leebens and a special acknowledgment to the wonderful Maggie McFalls for helping me get through the job of actually producing our first issue together. Whew!

Big news: at a November 8 press conference at the New York Audio Show, hi-res streaming service Qobuz announced it was eliminating its MP3 streaming tier and going to a lower $14.99 per month pricing plan that includes access to all hi-res and CD-quality streaming. The new Studio Premier plan is available to the first 100,000 subscribers and is $12.50 per month with a yearly plan. Qobuz’ Dan Mackta noted the service is adding 10,000 albums per day. The announcement follows on the heels of Amazon’s reveal of its own $14.99 plan ($12.99 for Prime members). More affordable hi-res streaming can only be a good thing, especially in bringing the pleasures of better-sounding music to more people.

Among this issue’s contents: Tom Gibbs looks at re-issues from the Stooges, the Stones, Miles and more. Woody Woodward tells a tale of haunted roads and the inimitable Bonzo Dog Band. Professor Larry Schenbeck offers insight into Russian composers Rachmaninov, Medtner and Prokofiev. Anne E. Johnson gives us an unflinching look at the Pogues and the work of Hildegard of Bingen, one of the most important composers of medieval sacred music.

J.I. Agnew provides an overview of the history of magnetic recording. Roy Hall has us salivating over culinary delights in Puerto Rico (well, maybe not if you’re a vegan). I contribute some thoughts on the recent Capital Audiofest 2019. Dan Schwartz tells a tale that may be familiar to more than a few of us, about having a great-sounding system...and then changing it.

Frank

I’m thrilled and honored to be named the new editor of Copper.

Many of you may know me from my decades in the audio industry as a writer, editor, PR person and audio enthusiast, with the emphasis on enthusiast. For those who don’t know me yet: my first industry gig was in 1984 as pop music writer for The Absolute Sound, later serving in various editorial capacities and as founder Harry Pearson’s setup man, friend and foil. Talk about trial by fire! I was the Silver Surfer to HP’s Galactus.

I’ve written for The Tracking Angle (now Analog Planet), Home Theater, Cineluxe and Sound & Vision among others. I handle public relations for consumer and pro audio companies. (Let’s get this out of the way: I am careful to avoid even potential conflicts of interest.)

I’ve been passionate about music and audio since hearing my parents’ tube radio sitting on the kitchen counter of our Brooklyn apartment, playing the AM hits of the late 1950s. I was riveted by the music and the sound. How did the music come out of that little box? How was it made? Who was making it? What are those sounds? Like a baby duck, I was imprinted. Such things still fascinate me.

Paul McGowan, head honcho of PS Audio and the rest of the Copper staff share this kind of enthusiasm and I am really stoked to be joining them.

When I was a teenager a friend’s father had the first hi-fi I had ever seen – Marantz electronics, big Rectilinear III speakers and a turntable I can’t remember. The dad saw me gaping at all of it and asked, “would you like to hear it?” “Yes!” “On one condition. Sit in that chair and I will play you 15 minutes of music and you won’t say a word, just listen.”

I was stunned. I had never heard music sound so vivid, and realistic. I had no idea a stereo could sound like that. The fire was later fueled in high school by my friend the late, great Bob Reina of TAS and Stereophile, who introduced me to high-end audio (along with a lot of great music). His Dahlquist DQ-10s were a revelation. These moments changed my life – and I haven’t told you yet about the first time I heard the Infinity IRS V loudspeakers at HP’s...

A little more background: I’m not dogmatic. I believe observational listening and measurements are both valid. I enjoy vinyl, hi-res digital, streaming audio, small two-way monitors, big floorstanders, whatever gets you through the night. There’s merit in both modest and monolithic audio systems. I like playing guitar, going to concerts, science fiction, pugs, garage sales, good deals on shoes, well-crafted objects and many other things.

I like all kinds of music but there’s a special place in my heart for Blue Öyster Cult. (Another story for another time.)

Audio and music are an art, a science, a commercial endeavor, a manifestation of dreams, a means of self-expression and so much more. Copper reflects all of that, and we intend to further our explorations.

I look forward to joining in the fun and sharing in the passion of our writers and the enthusiasm of our readers. Onward!

Welcome to Copper #96!

One thousand, three hundred and twenty-three days ago, the first issue of Copper came out. What you're now reading is, as stated, the ninety-sixth issue. That means that a new issue of Copper has appeared every 13.78 days, since the beginning.

Astonishingly enough, that is precisely on schedule. Regulars know that Copper appears (as if by magic!!) every other Monday. Depending on which confusing and contradictory definition you choose, that makes the mag biweekly. Or bimonthly. Maybe both.

Here's the reason for this drawn-out pedantry: I cannot think of another single thing in my life where I've managed to stick to a schedule, and deliver according to expectations, day after day, month after month...and year after year. For that reason alone, Copper is, to me, a miracle.

Way back in the early spring of 2016, Paul McGowan came to me wearing the mischievous grin that I know means trouble. What he said, guaranteed trouble:

"I want to do a magazine."

After a few deep breaths, I began a panicked-but-reasoned analysis of why an actual old-school paper magazine was a fool's errand. He quickly clarified that it was to be an online mag, and I breathed a little easier.

Until he told me it needed to be a weekly.

As the structure came together, the weekly thing fell by the wayside; it was clear that every two weeks would be challenging enough, both for the staff, and for the readers. That was a relief, but the challenges remained.

Our friend Seth Godin named the mag and wrote a column. We created a wish-list of potential writers, and not only did many join us, I'm grateful beyond words that several are still with us, after all this time.

Three of our regular columnists have been with the mag since the first issue. In the order in which they appear in the mag: Larry Schenbeck, Dan Schwartz, and Richard Murison have each contributed thousands of words and shared their expertise and their own peculiar perspectives--and I use "peculiar" in the sense of unusual, or special. I've learned a great deal from them in terms of musical and technical knowledge, and I've also learned from their unfailing professionalism and grace. I'm not sure how I can ever express my gratitude for their hard work and their gracious support. Thank you, guys.

Woody Woodward has been with us almost as long, starting with #2. We may disagree about stylistic issues, but never about music---he's shown that he has impeccable taste in tunes, and has his own unique take on them. Thanks so much, Woody.

We've had several writers come and go: a column every two weeks can be pretty demanding. Duncan Taylor was with us in the first issue, and his tales of live recordings appeared through #51. Other notable frequent flyers were Jim Smith, Ken Kessler, wine guy Tom Methans, and PS Audio's own Dan McCauley. The inimitable Christian James Hand was with us for twenty issues, and is still out there on the LA radio, and doing live presentations.

Anne E. Johnson has shared her musical knowledge with us since issue #30, often twice an issue, and I don't know anyone with her depth of knowledge across all areas of music. I dogged Roy Hall for years to tell his tales, and for years he said he didn't have enough stories to share. Sixty issues on, he's still telling his tales. Jay Jay French has been with us since #43, and I expect him to return soon.

J.I. Agnew and Tom Gibbs are our most-recent arrivals, starting in issues 90 and 91, respectively---and I hope they'll be lending their insights to Copper for years to come. Many others deserve to be mentioned---especially Gautam Raja, B. Jan Montana, and Rudy Radelic. Thanks to them, and to all who contributed through the years.

Given all that--- it saddens me to tell you that this will be my last issue.

It's hard to write that, and even more difficult for me to grasp. Copper has been both my focus and my motivation for years now--- and it's tough to leave. The magazine will continue in the very capable hands of Maggie McFalls, who has worked with me as Associate Editor for over a year now. She has an unerring eye for awkward phrases or run-on sentences (especially mine), and everyone in the Copper crew has worked with her.

As I've mentioned in the past, Leebens' Law of Life #1 is: Things Change. And so they do.

Back to the present issue: Professor Larry Schenbeck looks at the life and work of Maurice Durufle'; Dan Schwartz remembers how a jam and an obscure poem sold eleven million records (and counting); Richard Murison surveys recordings of the Shostakovich 4th Symphony; Roy Hall writes about his son, Ilan, a now-famous chef; Anne E. Johnson’s Off the Charts looks at the incredible Isley Brothers; J.I. Agnew looks at format wars; Bob Wood moves on to another station; Woody Woodward continues his look at the career and music of Jeff Beck; Anne’s Something Old/Something New looks at recent recordings of Bach Cello Suites; Tom Gibbs reviews two brand-new records, one old re-heard record, and one old never-heard record; and I say goodbye to The Audio Cynic, and wrap up Vintage Whine with a look at some truly oddball turntables.

The Copper Interview has John Seetoo chatting with producer Tony Visconti.

Copper #96 wraps up with Charles Rodrigues on Husband Acceptance Factor, and a maybe-melancholy Parting Sot from...me.

Ordinarily, I'd close by saying "until next time", or something similar. Well---this is it. Thanks for reading, and for writing us. Copper will still be here, so keep reading and writing.

As for me---so long, and thanks for all the fish.

Leebs.

Welcome to Copper #95!

This is being written on October 4th---or 10/4, in US notation. That made me recall one of my former lives, many years and many pounds ago: I was a UPS driver. One thing I learned from the over-the-road drivers was that the popular version of CB-speak, "10-4, good buddy" was not generally used by drivers, as it meant something other than just, "hi, my friend". The proper and socially-acceptable term was "10-4, good neighbor."

See? You never know what you'll learn here.

In #95, Professor Larry Schenbeck takes a look at the mysteries of timbre---and no, that's not pronounced like a lumberjack's call; Dan Schwartz returns to a serious subject --unfortunately; Richard Murison goes on a sea voyage; Roy Hall pays a bittersweet visit to Cuba; Anne E. Johnson’s Off the Charts looks at the long and mostly-wonderful career of Leon Russell; J.I. Agnew explains how machine screws brought us sound recording; Bob Wood continues wit his True-Life Radio Tales; Woody Woodward continues his series on Jeff Beck; Anne’s Trading Eights brings us classic cuts from Miles Davis; Tom Gibbs is back to batting .800 in his record reviews; and I get to the bottom of things in The Audio Cynic, and examine direct some off-the-wall turntables in Vintage Whine.

Copper #95 wraps up with Charles Rodrigues on extreme room treatment, and a lovely Parting Shot from my globe-trotting son, Will Leebens.

Until next time,

Leebs.

Welcome to Copper #94!

As this issue goes live, I'll have just returned from a quick trip to NY and back----so sorry, no analysis of the Phil Collins song. I'll leave that to our busy friend, Christian James Hand.

In this issue, Professor Larry Schenbeck looks at copycats---long before the "My Sweet Lord" debacle; Dan Schwartz examines an amazing gift from a famous friend; Richard Murison explores his family tree; Roy Hall remembers his (very active!!) dating life; Anne E. Johnson’s Off the Charts brings us lesser-known cuts from Siouxsie and the Banshees; J.I. Agnew goes into meticulous detail on the meticulous process of record quality control; Woody Woodward begins a new series on guitar god Jeff Beck; Anne’s Something Old/Something New brings us several recent recordings of Haydn Symphonies; the batting average of Tom Gibbs' record reviews drops from .800 last issue to .666 in this issue; and I  look at inevitability in The Audio Cynic, and examine direct-drive turntables in Vintage Whine.

I'm pleased to welcome a new contributor: Bob Wood will be telling stories of his long career in radio, and as a voice-over artist. I think you'll enjoy Bob's True-Life Radio Tales.

Rocky Mountain Audio Fest is the subject of a feature, written by moi.

And finally----

Copper #94 wraps up with Charles Rodrigues on divine intervention, and another stunning Parting Shot from our friend, James Schrimpf.

Until next time,

Leebs.

Welcome to Copper #93!

By the time you read this, the Rocky Mountain Audio Fest will have come and gone. We'll have a feature on the show in our next issue.

Leading off, Larry Schenbeck schools us on standard time; Dan Schwartz has final thoughts on Woodstock; Roy Hall's travels take an ugly turn; Anne E. Johnson’s Off the Charts features Las Vegas band, The Killers; J.I. Agnew goes into further detail on pressing records; Woody Woodward looks at NRBQ; Anne’s Trading Eights brings us cuts from jazz guitarist Emily Remler; Tom Gibbs' record reviews go four for five; and in Vintage Whine, I continue the series on how turntables turn.

Ken Fritz concludes the tale of his amazing homebuilt turntable, with Part 4 in this issue. Please be sure to watch the remarkable video at the end of the article.

Copper #93 wraps up with Charles Rodrigues hunting big game, and a scenic Parting Shot from our friend Rudy Radelic.

Our friend Jay Jay French is taking time off to focus on finishing a book---and we wish him the best of luck with that.  Richard Murison will be back in the next issue, along with The Audio Cynic, more cynical than ever.

We may have a surprise or two, as well. Fingers crossed.

I hope I saw you at RMAF. If not---see you next issue!

Leebs.

Welcome to Copper #92!

With the last gasp of summer comes the start of school years, Labor Day outings and gatherings...and with any luck you won't be haunted by the earworm of the wretched '60s song that shared the title of this piece....

In this issue, Prof. Larry Schenbeck introduces us to Swedish composer Allan Pettersson; on the 50th anniversary of that significant weekend, Dan Schwartz ponders Woodstock, and what it meant; Richard Murison examines the sound of music, and yes, the hills are alive; Jay Jay French leads you on a speaker chase: what will pair with $75,000 worth of audio gear? The answer may surprise you. We present Roy Hall's story of his first trip to China, from 2002; Anne E. Johnson’s Off the Charts brings us cuts from Journey that you may have never heard; J.I. Agnew brings us the details of how records are pressed; Woody Woodward brings us a warm-up for a new series with his piece on regional favorites, the Wildweeds; Anne’s Something Old/Something New brings us the story and music of the largely unsung Clara Wieck Schumann; Tom Gibbs reviews five more new records---this time with one classical release and one real clunker from a revered singer; I wonder why things can't be simple in The Audio Cynic, and in Vintage Whine, I look at different ways to make a turntable go 'round and 'round. Sounds simple, doesn't it?

The second and final part of my report on the California Audio Show appears in this issue---and during the show, our friend Rich Isaacs visited a Linkwitz open house.

Ken Fritz continues the tale of his amazing homebuilt turntable, with Part 3 in this issue.

Copper #92 wraps up with Charles Rodrigues defining "wretched excess", and a stunning Parting Shot from new contributor James Schrimpf.

Survive the holiday festivities, and we'll see you next issue!

Leebs.

Welcome to Copper #90!

By the time you read these, the 50th anniversary of the moon landing will have come and gone, and my landing in Oakland for the California Audio Show will also have come and gone. Next issue I'll bring some of the highlights from the show. I'm afraid I don't have anything to say about the moon landing that hasn't been said a million times before.

In this issue: Dan Schwartz looks at how we all shine on; Richard Murison notes some observations from his most recent trip to the UK; Jay Jay French expresses his appreciation for the Dave Clark Five; Roy Hall visits a totally unglamorous place, for once; Anne E. Johnson’s Off the Charts brings us hidden gems from Spandau Ballet; Woody Woodward continues his in-depth piece on Django Reinhardt with Act 4; Anne’s Something Old/Something New looks at recent recordings of works by Guillaume de Machaut. I examine the perils of overabundance of music in The Audio Cynic, and in Vintage Whine, we look at the short-lived '70s high-end brand, Quintessence. You may not know the brand, but it's a very interesting story.

I'm happy to bring you the first Revolutions Per Minute column from J.I. Agnew; this piece starts with the basics of record-making.

Remember Ken Fritz, who told us all about how he built an enormous listening room and five channels of mammoth speakers, all from scratch? Well, Ken needed a turntable to complete his system---and it probably won't surprise you that he devoted just as much attention to the 'table as he did to everything else. This amazing story will take a few installments to tell. We've got Part 1 in this issue.

Copper #90 wraps up with Charles Rodrigues as the life of the party, and a distinctive Parting Shot from our friend Rich Isaacs.

Finally, a sad note: music and audio industry veteran Jeremy Kipnis passed away recently in a drowning accident. Jeremy was the son of keyboardist/music critic Igor Kipnis, and grandson of the legendary operatic basso Alexander Kipnis. Jeremy was also a contributor to Copper, having written "Records as Time Machines", which appeared in Copper #76, and was reprinted by the German magazine Fidelity in their English-language edition. Jeremy and I had been in touch recently regarding an article he was writing for us about his grandfather, and I'm sorry that we won't be seeing that.

The greater loss, of course, is that of Jeremy himself. He was unique: talented, knowledgeable, and passionate, and yet--- a total goofball, with the energy and enthusiasm of a tweenager.

He will be missed by many---including me.

Leebs.

Welcome to Copper #89!

I hope you emerged from the 4th (Independence Day, for our friends around the world) with all digits intact. By now, you've undoubtedly noticed some changes in the mag's appearance. Over the next several months we'll be instituting changes that will make Copper read more like a regular magazine, and will ultimately make the mag easier to navigate, and binge-read.

These things happen in baby steps---so please bear with us, and thanks for your patience.

Dan Schwartz looks at the sound of music; Richard Murison looks at our dream-state; Jay Jay French takes a sideways look at the influence of gospel music; Roy Hall hobnobs with the rich and sorta-famous; Anne E. Johnson’s Off the Charts brings us some of Etta James' more obscure cuts; Woody Woodward is back with part 3 of his treatise on Django Reinhardt, and on a related subject, Anne’s Trading Eights looks at Stéphane Grappelli. I look at the perils of age in The Audio Cynic, and in Vintage Whine, we look at yet another side of Fairchild. That last piece, incidentally, introduces J.I. Agnew, who will soon be contributing a column to Copper on all things analog---and maybe much more.

We've also got a feature from our friend, veteran speaker designer Ken Kantor, who will also be starting a new column soon. I'm excited to bring these unique talents to you.

Copper #89 wraps up with Charles Rodrigues offering choices, and an unusual Parting Shot from our friend Rudy Radelic.

Enjoy the issue, and stay cool!

Cheers, Leebs.

Welcome to Copper #88!

The day this magazine goes live, July 1st, marks the halfway point in 2019. Having had a birthday recently, it certainly does seem that the months and years are zipping by. Back in the days when I still wrote checks, this would be about the time of year where I'd finally started writing the correct year in the date field of the check, halfway through the year. These days, without looking at my phone or calendar, I can rarely even tell you what month it is.

It's a good thing I have deadlines to keep me alert.

Dan Schwartz talks about TONE!; Richard Murison wonders if we're all just a bunch of navel-gazers; Jay Jay French plays Beatles tourist in Liverpool; Roy Hall has a rough go of it in Napa; Anne E. Johnson’s Off the Charts brings us lesser-known Deep Purple tracks, and Anne's Something Old/Something New features recent recordings of the lovely music of the unjustly unsung Fanny Mendelssohn; and I get up close and personal in The Audio Cynic, and in an atypical Vintage Whine, we look at the fate of vintage music---not vintage gear. Next issue---back to gear.

B. Jan Montana concludes his look around THE Show, and I finally (!) wrap up my coverage of the Munich show. I was starting to think it'd run until the next Munich show.

Our friend Woody Woodward will be back next issue with Part 3 of his piece on Django Reinhardt.

Copper #88 wraps up with Charles Rodrigues as design critic, and a lovely Parting Shot from Maggie McFalls.

---and oh! Have a Happy 4th!

Cheers, Leebs.

Welcome to Copper #86!

A week or so ago, here in Boulder we said, "it's May, so winter's over---right?" Then we had snow.

I won't second-guess any more, but I am hopeful. Temps in the 80s would tend to indicate that we're done. REALLY done.

We'll see. ;->

In our regular columns, Dan Schwartz fills us in on bassists he loves (other than Jack Casady!); Richard Murison asks a fundamental, troubling question: "Does Science Have to Make Sense?"; Jay Jay French continues his walk-around at Munich; Roy Hall runs into yet another beautiful young woman with problems; Anne E. Johnson’s Off the Charts brings us back-catalog works of Howard Jones; Woody Woodward writes about one of the most influential guitarists ever---Django Reinhardt; Anne’s Something Old/Something New reviews recent recordings of works by Corelli; and I overthink things in The Audio Cynic, and continue with part 2 of the history of Empire in Vintage Whine.

I'm happy to present an unusual article about unusual variants of the guitar, written by our friend Don Kaplan. I think you'll learn a lot from it---I certainly did.

We continue with excerpts from Michael Stuart Baskin's memoir, 363 Days in Vietnam: A Memoir of Howitzers, Hook-Ups, & Screw-Ups From My Tour of Duty 1968 to 1969; I continue with part 2 of my look at this year's Munich show. Industry News continues (and perhaps concludes) the sad story of Thiel Audio. 

Copper #86 wraps up with Charles Rodrigues in a discount mood, and a Parting Shot from down under by PSer Travis Townes.

I'm happy that our friend Christian James Hand is doing well and is busy doing live sessions all over the country---but sad that he's no longer going to be able to contribute to Copper. Best of luck to you, MC Skullcap!

Cheers, Leebs.

Welcome to Copper #85!

It seems like only yesterday when I got back from Axpona---and now I've gone to and returned from the Munich show. Any glitches in this issue should be attributed to jet lag....

In our regular columns, Dan Schwartz tells us about a special microphone; Richard Murison goes off on a tangent---or three; Jay Jay French begins his analysis of the Munich High End; Roy Hall gets into the thick of things yet again---this time, in Paris; Anne E. Johnson’s Off the Charts brings us lesser-known cuts from Rush, and Anne’s Trading Eights looks at alto sax great Johnny Hodges; and I look at the trend towards consolidation in The Audio Cynic.

We conclude the Make It Yourself article from Danish reader Sebastian Schlager on his experiments with horns.

Industry News looks at the continued growth of Sound United.

The Copper Interview brings us Part 2 of John Seetoo's chat with versatile producer/engineer Jack Joseph Puig.

We continue with excerpts from Michael Stuart Baskin's memoir, 363 Days in Vietnam: A Memoir of Howitzers, Hook-Ups, & Screw-Ups From My Tour of Duty 1968 to 1969; our friend Tom Methans tells us about this year's Rock & Roll Hall of Fame Induction Ceremony, and I start a multi-part look at this year's  Munich show.

Copper #85 wraps up with Charles Rodrigues doing penance, and a Parting Shot from Italy by Paul McGowan.

I'll continue the Vintage Whine series on the tangled history of Empire next ish; Woody Woodward is deeply involved in researching his next series, and Christian James Hand is still tied up in live sessions. Both will return soon---next issue, I hope, God willin' and WordPress don't bust.

See you then!

Cheers, Leebs.

Welcome to Copper #84!

Being the picayune sort, it annoys me when people celebrate the birthday of one long dead, and say, "this is Mozart's 263rd birthday." That may even be proper usage of the term, but unless you can actually sing "Happy Birthday" to someone---meaning that they're alive---it seems to me that "commemorating the anniversary of a birth" is more like it, rather than "---th birthday".

Again: it may well just be me, and that may be perfectly acceptable in common usage.

Along the same lines, I hesitate to say, "May 6th is my parents' anniversary," when they're both dead. Yes, it is the anniversary of their wedding, 78 years ago---but they were only married for 46 years, until my dad died in 1987.

"Only"? That's a damned long time. Anyway: I'm obsessing again....

We have a very full issue this time around, with some pieces that are a little different from our usual contributions.

Prof. Larry Schenbeck will be taking a sabbatical for a spell. I'm grateful for Larry's good humor and incredible knowledge of music---we expect he'll be back around the fall. Meanwhile, in this issue Larry brings us a group of performances of Prokofiev piano concertos---and thanks for that, Larry.

Dan Schwartz tells us about the landmark album Noir et Blanc; Richard Murison  looks into HD Vinyl---and it's not at all what I thought; Jay Jay French tells us about one that got away ; Roy Hall observes cultural differences while traveling the world; Anne E. Johnson’s Off the Charts brings us some unusual cuts from Tori Amos; Woody Woodward hilariously reviews those "best 100" lists; Anne’s Something Old/Something New introduces us to some beautiful organum from Notre Dame; and I wonder if there's a right size to audio shows, in The Audio Cynic; and try to untangle the history of Empire in Vintage Whine.

I'm really pleased to have an interesting, detailed Make It Yourself  article from Danish reader Sebastian Schlager on his experiments with horns. Part 2 will be in Copper #85.

The Copper Interview brings us Part 1 of John Seetoo chatting with versatile producer/engineer Jack Joseph Puig.

Rudy Radelic's feature on Axpona concludes in this issue---and thanks to Rudy for his hard work.

Longtime audio industry veteran Michael Stuart Baskin is, like many of us, of a certain age---and has written his memoir, 363 Days in Vietnam: A Memoir of Howitzers, Hook-Ups, & Screw-Ups From My Tour of Duty 1968 to 1969---phew! I'm pleased to be running excerpts over the next few issues. Don't worry---it's more like a gentler MASH than Apocalypse Now. I hope you enjoy it.

Copper #84 wraps up with the mysteries of botany from Charles Rodrigues, and a Parting Shot from---my morning commute?!?

Christian James Hand is tied up in live sessions---we wish him all the best, and hope he'll return soon.

Meanwhile: I'm off to Munich!

Cheers, Leebs.

Welcome to Copper #83!

I rarely react to PR pronouncements with more than an eye-roll, but when a utility company known for its string of coal-fired generating plants sent out a newsletter headed, "Make Every Day Earth Day", I nearly did a Danny Thomas spit-take with my morning brew.

Of course, the sentiment is valid, and noble---in spite of its painful earnestness. I recall the first Earth Day in 1970 (!), and I'm sure that as a 13-year-old member of Friends of the Earth, I said things that made my elders roll their eyes---and more.

Meanwhile, here on Earth....

Prof. Larry Schenbeck leads off the issue with Mahler and Stravinsky; Dan Schwartz looks at ways of fixing it in the mix; Richard Murison looks at lasers---not directly, of course, those things will put your eye out! Jay Jay French talks with legendary DJ Cousin Brucie; Roy Hall turns his head and coughs; Anne E. Johnson’s Off the Charts brings us Cream, beyond "White Room"; Woody Woodward looks at Steppenwolf, as only Woody can; Anne’s Trading Eights brings us recordings from one of my favorite jazz pianists, Marian McPartland; and The Audio Cynic barely sees Axpona. 

The Copper Interview concludes John Seetoo’s talk with Leslie Ann Jones.

Our friend Rudy Radelic is back with Part 1 of his look around Axpona---luckily, he saw far more than I did.

Copper #83 wraps up with reception issues from Charles Rodrigues, and an overhead view of our little town from Maggie McFalls.

Christian James Hand is tied up in live sessions---with luck, he'll tell us about his session at the Ring. And my apologies, but Vintage Whine will be back next issue.

I hope you enjoy this issue, and I'll see you in two weeks!

Cheers, Leebs.

Welcome to Copper #82!

I've never been good with ambivalence. The song quoted in the title above: does it mean that it's not spring, but just kinda sorta looks like it? I don't like false hope, and here in Colorado, winter is an evil, deceptive and persistent thing, prone to lingering well beyond its sell-by date....

Let's assume it's Spring, by God, and sit out in der Biergarten mit der Hunden und Kindern, and enjoy life.

We've got an amazing issue for you, if I say so myself. And I do.

Prof. Larry Schenbeck brings us more Deutsch---not der Biergarten, but Eine kleine zuviele Nachtmusik; Dan Schwartz finds religion---in his own way; Richard Murison writes about Great Opera---and while some may find one of his mentions controversial, I agree wholeheartedly; Jay Jay French ---well, just read it. He's shaking things up yet again; Roy Hall tells stories that could only occur in New York; Anne E. Johnson's Off the Charts brings us lesser-known cuts from one of my favorites, Rev. Al Green; Anne's Something Old/Something New brings us recent recordings of Handel Arias; and I get serious with Cynic and explore a fascinating sidebar to Fairchild history in Vintage Whine.

The Copper Interview brings us Part 1 of John Seetoo’s talk with Leslie Ann Jones, well-known recordist and daughter of...?

Richard Murison visited the Montréal Audio Fest, and was only able to produce a Gallic shrug for many exhibits; and new contributor Peter Braverman brings us details of the fascinating Sofar concert program. Live music! GO!!

Copper #82 wraps up with an '80s look at turntables from Charles Rodrigues, and a Close Encounters-esque Parting Shot from Paul McGowan.

Poor Woody Woodward and Christian James Hand have both been under the weather, and will return as soon as they're able.

I hope to see you at Axpona---thanks for reading, and we'll be back with #83 on April 22nd---Earth Day!

Cheers, Leebs.

Welcome to Copper #81!

This is being written on the first day of Spring. Here in Colorado we view such markers with skepticism, especially when last week saw the massive "bomb cyclone" that hit our area and much of the Midwest, closed down Denver airport, and generally made a mess of things. Remarkably, aside from a few hours of driving snow that made driving difficult, the Boulder area didn't do too badly at all.

Enough with the Farmer's Almanac, Leebs. What's in the issue?

Prof. Larry Schenbeck leads off with a selection of pieces that feature at least one violin up front; Dan Schwartz tells us how an iPad and Qobuz made a recent stay in the ICU less angst-y; Richard Murison writes about Beet....Monty Python?; Jay Jay French stirs things up yet again with a thesis on how communal societies make good bands; Roy Hall manages to find upheaval even in peaceful Cabo San Lucas; Anne E. Johnson does double duty again, and will in every issue from now on. Her new jazz column, Trading Eights, will alternate with Something Old/Something New. Lee Morgan is her first subject, and Off the Charts brings us lesser-known cuts from Jefferson Airplane; Woody Woodward reviews the remarkable music and too-brief life of Sean Costello; and I get all misty-eyed (not really)  about a TV repairman, and explore another initiative designed to help musicians get paid for their work.

The Copper Interview wraps up John Seetoo's talk with June Millington, founding member of the influential group Fanny, guitarist, and producer.

Fred Schwartz takes a look at the debut and subsequent lengthy career of the beloved Van Cliburn.

Copper #81 wraps up with a look at audio evolution from Charles Rodrigues, and a Parting Shot by Assistant Editor Maggie McFalls.  Christian James Hand will return in the next issue.

Thanks as always for reading—and see you with the next issue!

Cheers, Leebs.

Welcome to Copper #80, our Third Anniversary issue!

Some investigations require more effort than others. We know that, say, the 25th anniversary is silver, but Googling, "what is the 3rd anniversary?", we find that traditionally, it's...leather? Supposedly, this symbolizes flexibility and durability.

As long as I don't have to be urea-tanned, I'm good with it....

So what've we got in store for you? Commemorating the anniversary, I take a little walk down memory lane, and a number of our writers reminisce about their Copper-time.

In our columns, Prof. Larry Schenbeck tells us the nostalgic tale of how life on the farm made him---an audiophile? Dan Schwartz  is back with a new piece, explaining how he does things, bass-wise; Richard Murison goes all G&S on us; Jay Jay French writes about the Cult of Bruce, with a piece sure to raise some hackles (though not mine); Roy Hall goes through a tiny little bit of surgery; Anne E. Johnson does double duty, writing about Jackson Browne's less-familiar songs, and reviewing recent recordings of works by J.A. Hasse; Christian James Hand deviates from the norm with a memorial to Mark Hollis; Woody Woodward takes a look at the music and career of John Prine; and I look back (appropos, no?) on past Vintage Whine columns, and wonder, who are the real cynics?

The Copper Interview features the second part of John Seetoo chatting with influential musician and producer June Millington.

Copper #80 wraps up with another audio marketing lesson from Charles Rodrigues, and a hopeful, "Spring is coming---right??" Parting Shot by Paul McGowan.

Thanks as always for reading---and thanks for your support over the last three years!

Cheers, Leebs.

Welcome to Copper #79!

This issue features my walkaround of the first-ever Florida Audio Expo . The turn-out was impressive, and both attendees and exhibitors were happy. I left Denver airport at -6 and frozen fuel lines (?!?) and was able to spend several days in absolutely perfect weather, along with many other refugees from the polar vortex. That certainly  didn't hurt the reception received by the show.

This show is going to work.

Prof. Larry Schenbeck looks at Purcell's King Arthur; Dan Schwartz  looks back at his association with Rosanne Cash ; Richard Murison opens a can of worms on the subject of audiophile science;  Jay Jay French asks, what do you hate?; Roy Hall has more adventures in Hong Kong; Anne E. Johnson looks at the ups and downs of the Red Hot Chili Peppers; Christian James Hand deconstructs the Journey classic, "Any Way You Want It"; and I take a cynical look at the Grammy Awards, and try to decipher the oxymoronic world of New Old Stock. Woody Woodward will be back soon with a look at the music and career of John Prine.

The Copper Interview features John Seetoo chatting with influential musician and producer June Millington.

Copper #79 wraps up with Charles Rodrigues asking what's in a name?--- and a beautiful Parting Shot by Rich Isaacs. 

Enjoy, and we’ll be back soon with our 3rd Anniversary issue!

Cheers, Leebs.

Welcome to Copper #77!

I hope you had a better view of the much-hyped lunar-eclipse than I did---the combination of clouds and sleep made it a non-event for me.

Full moon or no, we're all Bozos on this bus---in the front seat is Larry Schenbeck, who brings us music to counterbalance the blah weather; Dan Schwartz brings us Burritos for lunch; Richard Murison brings us a non-Python Life of Brian; Jay Jay French chats with Giles Martin about the remastered White Album; Roy Hall tells us about an interesting day; Anne E. Johnson looks at lesser-known cuts from Steely Dan's long career; Christian James Hand deconstructs the timeless "Piano Man"; Woody Woodward is back with a piece on seminal blues guitarist Blind Blake; and I consider comfort music, and continue with a Vintage Whine look at Fairchild.

Our reviewer friend Vade Forrester brings us his list of guidelines for reviewers.

Industry News will return when there's something to write about other than Sears.

Copper#77 wraps up with a look at the unthinkable from Charles Rodrigues, and an extraordinary Parting Shot taken in London by new contributor Rich Isaacs.

Enjoy, and we’ll see you soon!

Cheers, Leebs.

Welcome to Copper #76! ---here we are, halfway through January already, and I guess I'll find out if January actually exists without the mania of CES. I've attended since 1989, I'm done. My favorite newsflash so far has been that an autonomous car ran over an autonomous robot....

But we're here, and blessedly flu-free...so: Larry Schenbeck continues his look at  musical storytellers---vocal ones, this time; we're revisiting Dan Schwartz's piece on Steve Reich; Richard Murison tries his hand at haiku---and some ku are hai-er than others; Jay Jay French brings us the second of two stories about meeting John & Yoko; Roy Hall tells his uncommonly-touching story of citizenship; Anne E. Johnson does double duty, with a look at lesser-known cuts from Richie Havens, as well as a Something Old/Something New review of new recordings of not one but two composers named Praetorius; Christian James Hand deconstructs REM's "It's the End of the World..."; and I obsess yet again about CES, and continue with a look at the audio segment of the amazing business empire of Sherman Fairchild.

Industry News continues the never-ending story of---well, guess who. No, it's a different guess who than last issue's guess who. Sheesh!

Our friend Fred Schwartz wonders what we'd hear in a certain situation; and we're pleased to have the first contribution from Jeremy Kipnis, writing about his illustrious ancestor, operatic bass Alexander Kipnis.

Copper #76 wraps up with a scratchy sound from Charles Rodrigues, and a Parting Shot all the way from Argentina.

Enjoy, and we’ll see you soon!

Cheers, Leebs.

Welcome to Copper #74, the second of three December issues, and one of our biggest issues ever. We hope that those who celebrate it had a pleasant Hanukkah, and wish a very merry Christmas to those who celebrate. We've got a lot of great articles to keep you occupied while you're off work---so, onward!

We wrap up  John Seetoo's Copper Interview with Tom Fine, discussing Tom’s remastering of Mercury Living Presence recordings for release on vinyl. Part one of the interview was in Copper #73.

From our usual gang of geniuses: Larry Schenbeck provides suggestions for musical holiday gifts; Dan Schwartz is back, and tells us about a performance of Handel's Messiah; Richard Murison has a fascinating cloak-and-dagger tale of the lost, final score by Beethoven; Jay Jay French tells us how Keith Richards will outlive us all (better living through chemistry?);  Roy Hall  remembers trade shows gone bad; Anne E. Johnson brings us lesser-known cuts from The Police; Christian James Hand deconstructs the powerful "Killing in the Name" by Rage Against the Machine; Woody Woodward brings us memories of Christmases past;  and I have a Christmas wish for the world of audiophilia, and wrap up the series on phono playback---for now.

Industry News has what we hope will be the last negative mention of Gibson Brands; In My Room concludes the story of  Ken Fritz’s massive speaker/listening room project.

Anne is back with a Something Old/Something New look at recent recordings of Couperin; Woody is also back with a holiday short story; and our friend Tom Methans is back with a celebrity close encounter of the canine kind.

Copper #74 wraps up with winter warmth from Charles Rodrigues, and a Parting Shot from way out west.

Enjoy, and we’ll see you at the end of the year!

Cheers, Leebs.

Welcome to Copper #73!

While the saying, "days drag, years fly by" is annoying---it does seem to be true. Welcome to December: notable for three issues of Copper!

...and, oh, some holidays. For starters, Happy Hanukkah!

The Copper Interview is back with our friends John Seetoo and Tom Fine---we get the skinny on Tom's remastering of Mercury Living Presence recordings for release on vinyl, by Chad Kassem's Analogue Productions label. Chad, of course, was interviewed by John back in issue #33.

On to our regulars: Larry Schenbeck writes about musical collaborators; Dan Schwartz's look at Bernie Leadon is revisited; Richard Murison writes above my pay grade and intellectual level; Jay Jay French brings us a very cool story about a little-known mover and shaker in the NYC music scene; Roy Hall brings tales of food and families; Anne E. Johnson brings us lesser-known work from the huge Heart catalog; Christian James Hand deconstructs the Stevie Nicks song, "Stand Back" ; Woody Woodward concludes his two-parter on Bessie Smith; and I trip the laser light fantastic in phono technology, and look at magical materials in audio.

Industry News looks again at the bumpy rides experienced by Monster Products and Sonos; In My Room continues with more on Ken Fritz’s massive speaker/listening room project.

Don Kaplan is back with the answer to the musical question, "does this make my sackbut look big?"---Okay, it's about the vital early music scene in the SF Bay area....

Copper #73 wraps up with investment advice from Charles Rodrigues, and a striking Parting Shot from Brazil.

Enjoy, and we'll see you in two weeks!

Cheers, Leebs.
[Everyone knows the Sandy Denny and Judy Collins versions---I think Nina Simone's rather wistful tone fits the lyrics better.]

httpv://www.youtube.com/watch?v=wZa3XsHA6UU

Welcome to Copper #72!

It's a cliche' that travel expands the mind, but there is truth in it. Having just been in  South America where Daylight Savings Time was just beginning and summer was approaching, and then returning to a fallen-back Colorado with snow on the ground--well, it lets one know that it's a big ol' world, and one tiny little corner of it doesn't reflect all that other territory. Thank God for that, says I.

Back to the issue at hand---issue #72, unbelievably enough---we've  wrapped up our coverage of the recent Rocky Mountain Audio Fest, and now our resident recording engineer John Seetoo takes us around the giant AES convention at Javits Center in NYC. I'll get there one of these years.

Getting to our unusual usuals, Larry Schenbeck writes about roots in our rootless world; Dan Schwartz is still on hiatus, so we'll revisit his take on words in music; Richard Murison finds beauty, on sale at Amazon; Jay Jay French writes about blues, both faux and fo' real; Roy Hall remembers corporal punishment, and not fondly; Anne E. Johnson brings us uncharacteristic work from James Taylor, and doubles up with Something Old/Something New on new recordings of Mozart string quartets; Christian James Hand deconstructs the MTV chestnut, "Take On Me"; Woody Woodward brings us the first part of a series on Bessie Smith; and I continue the (never-ending!) series on phono technology, and think about music in the air.

Industry News looks at two bankruptcies: one, a beginning of sorts; the other, the final shovel of dirt tossed ignominiously on a grave. In My Room returns with the first of several parts on Ken Fritz's massive speaker/listening room project. You're not going to believe this one. Seriously.

Copper #72 concludes with sympathy from Charles Rodrigues, and a striking Parting Shot from Utah.

As always: thanks for reading!

Cheers, Leebs.

Welcome to Copper #71!

The leaves have mostly passed peak color here in the Front Range of the Rockies, meaning the dogs are running through the carpet of fallen leaves and are generally making a crackly mess of things. Halloween has passed, and the election is coming right up---and no, I'm not equating the two. ;->

I'm pleased that Woody Woodward, our Poet Laureate of the Roadhouse, returns in this issue with a piece even more bizarre than usual. Well--he's had that stuff bottled up for a while.... Good to have you back, Woody!

Wrapping up our coverage of the recent Rocky Mountain Audio Fest, part 2 of my walk around the show appears here, in this issue. Our resident oenologist audiophile, Tom Methans, also provides his take on the show as a bass-free zone.

With Woody back, the gang is all here:  Larry Schenbeck writes about music that speaks softly, but carries a big impact;  Dan Schwartz is still recovering, so we’ll revisit his piece on his friend and colleague, Harry Pearson; Richard Murison remembers a classic bit of English humor (or humour); Jay Jay French writes about a recent Elton John concert;  Roy Hall recalls a brief encounter in Milan; Anne E. Johnson brings us some lesser-known cuts from The Clash; and  I continue the (never-ending!) series on phono technology, and obsess over liminal messages.

Industry News looks at the bizarre world of buy-backs.  Our friend Christian James Hand is on the road with live sessions, and will return next issue.

Copper #71 concludes with Charles Rodrigues getting warmer, and a Parting Shot from ---well, my backyard.

As always: thanks for reading!

Cheers, Leebs.

Welcome to Copper #70!

The Rocky Mountain Audio Fest took place October 5-7, and as is often the case, we had our first snow shortly thereafter. Just a few days later, temps are back up in the 60s F (say 15-ish,C). Aside from a dusting upon higher points around us, the snow's gone. Fourteener Longs Peak (>14,000 feet elevation) in the distance looks like an ice cream sundae, and will likely stay that way until next June. Maybe later.

Oh: Part 1 of my walk around the show appears here, in this issue.

The gang is almost all here---more on that in a bit:  Larry Schenbeck brings us Bach, with some atypical instrumentation;  Dan Schwartz is still recovering, so we’ll revisit his piece on minimalist Nik Bärtsch ; Richard Murison remembers a celebrity encounter; Jay Jay French explains how artists get short shrift, yet again ;  Roy Hall recounts close encounters with suicide; Anne E. Johnson brings us obscure cuts from Tracy Chapman, and presents a fascinating Something Old/Something New on medieval Spanish chant (really---listen to this stuff); Christian James Hand  deconstructs Beastie Boys' "Sabotage", and it's pretty amazing; and  I continue the series on phono technology, and write about glossolalia. ;->.

Industry News looks at, yes, still more drama from Sears; and we reluctantly wrap up our friend Rich Maez's feature on Monterey Auto Week.

Copper #70 concludes with Charles Rodrigues contemplating a philosophical question, and a Parting Shot from Middle Of Nowhere, Colorado.

I'm happy to announce that---God willin' and the creek don't rise---Woody Woodward will return in Copper #71, and our friend Tom Methans will be bringing us another take on RMAF. We'll also have a few more surprises---but if I told you what to expect, they wouldn't be surprises, now, would they?

Thanks for reading!

Cheers, Leebs.

Welcome to Copper #69!

The aspens are starting to turn yellow here in Colorado, and  Rocky Mountain Audio Fest takes place October 5-7. Depending upon the machinations of publishing, it will either be forthcoming, in progress, or have already occurred. At any rate, I'm sure it will be/is/was a great show, once again!

Getting into this issue, Larry Schenbeck asks the musical question, "Why Do You Think They Call it Classical?";  Dan Schwartz is still recovering, so we’ll revisit his memorial of Paul Kantner; Richard Murison remembers friends lost along the way; Jay Jay French remembers the birth of the Beatles phenomenon ;  Roy Hall remembers his school days; Anne E. Johnson brings us obscure cuts from all the incarnations of Fleetwood Mac; Christian James Hand  deconstructs the anthemic MTV hit, "In A Big Country"; and  I write about the difference between humility and hubris.

Industry News looks at the latest drama from Sears; and our friend Rich Maez brings us the first part of a feature on the glories of the Monterey Auto Week.

Copper #69 concludes with Charles Rodrigues giving new meaning to the term GUI, and a Parting Shot that continues our automotive theme.

Woody Woodward is still on sabbatical, and we're looking forward to his return. We wish Dan Schwartz a rapid recovery.

Copper #70 will continue our Vintage Whine series on phono playback with part 5, we'll continue Rich's piece on Monterey, and we'll have a feature on RMAF.

Thanks for reading, and I'll see you at the show! ...or, I'm glad to see you/it was good to see you, as the case may be!

Cheers, Leebs.

Welcome to Copper #68!

By the time you read this, the first day of Fall will have passed---and we're approaching Rocky Mountain Audio Fest, closely followed by (yikes!) the Toronto Audio Fest, the Capital Audio Fest, the New York Audio Show, the Audio Video Show in Warsaw, the Tokyo International Show---and maybe a few others I've forgotten! Maybe some day I'll explain how the crowded Fall show scene almost got even more crowded....

Getting into this issue, Larry Schenbeck tells us about not Jobs, this time, but snobs and slobs;  Dan Schwartz recently underwent surgery,  so we’ll revisit his memoir of the Tuesday Night Music Club; Richard Murison brings us John Corigliano's striking Symphony No. 1; Jay Jay French’s tells us about his guitars---LOTS of guitars;  Roy Hall fulfills a childhood wish and visits Cairns; Anne E. Johnson brings us lesser-known songs from R.E.M; Christian James Hand  deconstructs Thin Lizzy's major hit, "The Boys Are Back in Town".  I scrutinize the times when sharing isn't caring, and present part 4 of our series on phono playback.

Anne is back with Something Old/Something New, featuring new recordings of Schubert Symphonies; Industry News looks at developments at Krell;  and our friend B. Jan Montana shows us around the CEDIA Expo.

Copper #68 concludes with Charles Rodrigues telling us how a laser turntable SHOULD be made, and a Parting Shot view of the beautiful coast of Sardinia.

Woody Woodward is still on sabbatical, and will return in a few issues---he promises!

Thanks for reading. See you soon!

Cheers, Leebs.

Welcome to Copper #67!

It may be my Irish heritage and genetic memories of last call, but the melancholy song "Closing Time" has always resonated with me. For those who have somehow avoided this late-'90s classic, a key line is "every new beginning comes from some other beginning's end."

Okay: it's not exactly Schopenhauer, and may be a tad sophist, but there is a fair amount of wisdom contained within that line. And so, as we move the PS Audio factory from our home of many years to a big new building (all the way across the street), there is wistfulness mixed with the excitement. Some clean-up remains, but the basic move is over, the toasts have been made---and so we begin, again.

Getting into #67, Larry Schenbeck tells us about a new opera, whose subject is---Steve Jobs?? Dan Schwartz is under the weather, so we'll revisit his piece on the Grateful Dead's Wall of Sound; Richard Murison writes about teamwork, and not in an eye-rolling way; Jay Jay French's piece is entitled "The Needle and the Damage Done"---and I'll let you determine what it's about;  Roy Hall has still more (!!) love stories; Anne E. Johnson examines some lesser-known cuts from Peter Gabriel; Christian James Hand deconstructs the '70s chestnut that is "Free Bird"---and I think you'll be astonished at the level of musicianship that was involved. I ask, have you heard that stuff?— and continue looking at the technology of playing records.

Industry News looks at the never-ending drama of Gibson Brands; and our friend Tom Methans brings us a feature on some unusual wines.

Copper #67 concludes with Charles Rodrigues looking at an issue with phase, and a Parting Shot from a recent day-trip to Colorado's Lookout Mountain.

Woody Woodward is still on sabbatical, and will return in a few issues.

Thanks for reading. See you soon!

Cheers, Leebs.

Welcome to Copper #66!

Summer ends, fall begins, change abounds. We at PS Audio are boxing up and beginning the move to our much larger new building---which, fortunately, is right across the street. You won't see any effect on Copper---I don't expect to be down for more than a day. Maybe not even that.

Knock on wood. If you can find any in the increasingly-empty factory.

My feature on the California Audio Show  concludes in this issue. In the next issue or two, I'll tell you about the side-trips I took after the show. I think you'll enjoy the telling.

Larry Schenbeck  starts the issue with an intriguing piece on Mieczysław Weinberg---and in my head I'm pronouncing that first name "Mike"; Dan Schwartz tells us why Aretha Franklin was so important to him; Richard Murison visits surround-sound researcher/rocket scientist Edgar Choueiri at his Princeton lab---and fun and danger ensue; Jay Jay French brings us a very personal tale about his recent run-in with prostate cancer;  Roy Hall  tells another twisted tale of almost-romance; Anne E. Johnson runs through some obscure cuts from Imogen Heap; Christian James Hand deconstructs "Tom Sawyer" from Rush, and I ask, is there nothing new under the sun?--- and continue looking at the technology of playing records.

Anne E. Johnson returns with a Something Old/Something New look at recent recordings of the works of Giovanni Battista Sammartini, best-known for having coined the term "symphony". Sorta. Anyway, there's some lovely music here.

Industry News looks at the latest developments with Bang & Olufsen, as well as a few companies that are not doing as well.

Copper #66 concludes with Charles Rodrigues looking at the countdown to adulthood, and a Parting Shot from my recent swing through San Francisco.

Woody Woodward is still on sabbatical, and will return in a few issues.

Thanks for reading. See you soon!

Cheers, Leebs.

Welcome to Copper #91!

Having left the relatively-balmy temps of the Bay area and returned to the high-altitude frying pan of Colorado, I was reminded of the classic story and radio play, "August Heat". If you're not familiar with it, enjoy this production with Ronald Colman---radio at its melodramatic best. The ads for Roma Wines are fun, as well---I'm all for adding "pleasantness" with wine!

I'm pleased to have the return of the prodigal Prof. Larry Schenbeck. This issue, Larry writes about the echoey ambiance of King's College Chapel. This issue also marks the first column of record reviews from veteran music and audio journalist, Tom Gibbs. I've tagged the column To Be Determined because it's up to Tom to determine what's good---and what isn't.

We have lots of good stuff from our regulars: Dan Schwartz looks back at the glory days of Bill Bottrell's Toad Hall studio; Richard Murison shows us that what sounds good is not at all simple---or universal; Jay Jay French interviews an obsessive Beatles collector who isn't even a Beatles fan (don't ask me---I don't get it); Roy Hall writes about bidets and Budapest; Anne E. Johnson’s Off the Charts brings us hidden gems from the long career of Steve Winwood and the Spencer Davis Group ;J.I. Agnew looks at exactly how music is recorded; Woody Woodward concludes his reverential in-depth piece on Django Reinhardt with Act 5; Anne's Trading Eights brings us great cuts from jazz pianist Dr. Billy Taylor. I mourn the loss of a colleague in The Audio Cynic, and in Vintage Whine, I look at...paper?!?

While in the Bay area, I walked the halls at the California Audio Show. This issue has Part 1 of my report---with some interesting new gear.

We continue the story of the incredible turntable home-built by Ken Fritz, with Part 2 in this issue.

Copper #91 wraps up with Charles Rodrigues out-tweaking the tweaks, and a beautiful Parting Shot from our friend Rudy Radelic.

See you next issue!

Leebs.

Welcome to Copper #87!

Family business had me on a plane yet again, this time to Las Vegas---and believe me, it takes family to get me to Vegas in June. Daytime temps generally exceeded 100 degrees F, with single-digit humidity and that wonderful acrid dusty desert smell. I know plenty of people who love the place, but.... I thought Colorado was dry, but it's the Garden of Eden compared to Vegas.

Years ago, I visited Roy Hall's room at CES and complimented Roy on the room's scenic view. Roy waved dismissively at the picture window and said, "Las Vegas is a waste of a perfectly good desert."

Who am I to disagree?

What's up with our regulars? Dan Schwartz  begins the complicated tale of where he's been; Richard Murison regales us with the human history and grisly toll of Everest ; Jay Jay French tells us about the horrors of a music-free life during a renovation; Roy Hall does not enjoy a visit to Moscow; Anne E. Johnson’s Off the Charts offers some of Billy Joel's lesser-known cuts; Woody Woodward brings us Part 2 of the story of Django Reinhardt; Anne’s  Trading Eights features vocalist Dianne Reeves; and I muddle through that objective/subjective thing again in The Audio Cynic, and conclude the history of Empire (whew!) in Vintage Whine.

We conclude our excerpts from Michael Stuart Baskin's memoir, 363 Days in Vietnam: A Memoir of Howitzers, Hook-Ups, & Screw-Ups From My Tour of Duty 1968 to 1969, and thank Michael for the opportunity to share his story. I continue with part 3 of my look at this year’s Munich show---and we ain't done yet!

Our friend B. Jan Montana takes us around THE Show in Long Beach---and it seems to have been a good time. Sorry to have missed it.

Copper #87 wraps up with Charles Rodrigues resting in an audio way, and an unusual Parting Shot from our friend Rich Isaacs.

Cheers, Leebs.

Welcome to Copper #63! This issue's menu offers summer reading ranging from light amuse-bouche to meaty main courses. I hope you'll enjoy it.

Everything is relative: the high-nineties temperatures of the Colorado summer seem brutal until one encounters 115 degrees at the Grand Canyon. Given that, I promise---for as long as I think of it---that I will no longer complain about the temps here in Boulder.

For a while, anyway.

Professor Schenbeck  introduces us to the phenomenal recordings from Ondine; Dan Schwartz encounters an online troll---unfortunately, face to face; Richard Murison realizes that the Cold War is gone, sorta, but not forgotten; Jay Jay French enumerates what it takes to be a rock 'n' roll star---and spoiler alert, it involves work; Roy Hall remembers hotels, both grand and less so; Anne E. Johnson looks at the post-pop star work of Marianne Faithfull;  Christian James Hand dismantles the old Toto hit "Rosanna", track by track; and I look at the meaning of NOS, and at...well, the meaning of meaning. Or meaninglessness. Having flashbacks to Philosophy 101 yet?

Industry News looks at the forthcoming IPO of Sonos; and our friend Gautam Raja examines the different types of enthusiasts---which are you?

Copper #63 concludes with Charles Rodrigues looking at the world of speaker testing, again; and I suffer for my art with a Parting Shot from the scorching hot Grand Canyon.

Woody Woodward is still on sabbatical, and will return in a few issues.

Thanks for reading, and see you next issue!

Cheers, Leebs.

Welcome to Copper #62!

My daughter Emily believes that men in general are whiners when they're sick---and I'm not exempt from her judgment. What was a sniffle and cough has turned into a protracted bout with sinus infections/bronchial wheeze/what the hell is this?? >hack< >whine<

Yeah. Anyway: pardon me if my focus drifts a bit. Off we go----

Professor Schenbeck  leads off the issue with another mess o' Messiaen; Dan Schwartz knows that his long-serving home audio system is almost, almost there; Richard Murison looks back at his Glaswegian roots (not to be confused with Norwegian Wood); Jay Jay French takes a long strange trip that ends up at Jerry Garcia; Roy Hall looks at a string of near-misses; Anne E. Johnson looks at Queen after the '70s;  Christian James Hand picks apart the mega-hit "Go Your Own Way", piece by piece; and I look at a vintage audio dealer, and at clock radios. No, really.

Anne is back with  Something Old/Something New, reviewing recordings of C.P.E. Bach sonatas; and Industry News looks at  the sad fate of Geoffrey the Giraffe.               .

In our features, Larry Schenbeck takes a look at Edward Lear (and that damn Messiaen keeps popping up); and reader Tom Methans contributes a reminiscence of his first audio system.

Copper #62 concludes with Charles Rodrigues looking at the reality of speakers, and an extraordinary Parting Shot from reader Joseph Grogan.

Woody Woodward is still on sabbatical, and will return in a few issues.

Thanks for reading, and see you next issue!

Cheers, Leebs.

Welcome to Copper #61!

Someone, somewhere will undoubtedly be able to extract immense meaning from the numerological confection that is the date of this issue: 6/18/18. That person is not me. I envision a bunch of Columbia mathematicians like our friend Karl Sigman getting together and spinning out the analysis in the style of the Sugarhill Gang...hence the title.

httpv://www.youtube.com/watch?v=rKTUAESacQM

Having been born on the 6-heavy date 6/16/56, I have on occasion been told that such should give me a leg up when it comes to winning the lottery, getting a better rate on a mortgage, meeting Scarlett Johansson....

As they used to say in Memphis: ain't none of it happened. So---back to work!

Speaking of work, John Seetoo follows up last issue's interview with Renaissance man Kamel Boutros with a look at Boutros' work in preserving and restoring the elderly Aeolian-Skinner pipe organ at Calvary Episcopal Church in New York.  Richard Murison began his interview with rocket scientist/surround-sound pioneer Edgar Choueiri last issue; this issue's installment continues with a further explanation of Edgar's fascinating work. Regarding things that kinda sorta work: our Gautam Raja looks at tweaks that work great...until they burn your house down.

As mentioned last issue, our Anne E. Johnson is starting a new column in this issue. In Off the Chats, Anne will bring us worthwhile-but-obscure music from well-known artists. She will continue her acclaimed classical survey reviews in Something Old/ Something New, every other issue. I'm also very pleased to introduce new contributor Christian James Hand's column Hand Picked. Christian is a musician and LA-market radio personality, and will be dissecting some major rock records, track by track---starting with Bob Seger's Stranger In Town.

In our regular columns, resident Professor of Musicology Larry Schenbeck  explores the musical delights of summer; ; Dan Schwartz encounters RootMasterSound---whatever that is; Richard Murison disperses some wisdom on the somewhat-arcane subject of loudspeaker dispersion; Jay Jay French looks at a guitar influence that may surprise you, Spider From Mars Mick Ronson; Roy Hall tells us about his stint as a bigshot owner of thoroughbreds; and I look at the joys of social media, and examine audio terminology that we take for granted, but which may be gibberish to laymen.

Industry News looks at the $85 billion AT&T/Time Warner deal, and what it will mean for future deals; meanwhile, there are still more bizarre happenings in the death throes of Sears.

Copper #61 concludes with another incident of audio-related marital discord from Charles Rodrigues, and a lovely Parting Shot from Paul McGowan.

Woody Woodward is taking a brief sabbatical, and will return in a few issues.

Thanks for reading, and see you next issue!

Cheers, Leebs.

Welcome to Copper #60!

Ye Olde Editor may still be all askew from jet-lag, but life goes on, and half the country is enveloped in a heat wave. I hope you can stay cool, wherever you are.

We've got an abundance of interesting content in this issue, with two interviews: John Seetoo chats with Renaissance man Kamel Boutros, operatic baritone, pianist, organist, actor, church music director, organ-restorer...what have I forgotten? Richard Murison interviews rocket scientist/surround-sound pioneer Edgar Choueiri, in the first of several installments. Richard and Edgar offer the clearest explanations of  hearing mechanisms that I've ever read.

Lucky traveler Larry Schenbeck  sends us a Letter From London; Dan Schwartz  discovers what was missing in his system; Richard Murison offers perspective on the lives of musicians; Jay Jay French continues the series of articles on his guitar influences, with the late, great Albert King; Roy Hall runs through a gamut of emotions with the Big C; Anne E. Johnson brings us her last indie column with veteran folkie Claudia Schmidt. Anne will start a new column next issue, and I think you'll really enjoy it.  I mourn the passing of David Wilson and look back at how it used to be done .

Industry News looks at several sides of  Sonos; and Anne features a stunning group of recordings of the works of Tomás Luis de Victoria in Something Old/Something New.

Copper #60 concludes with Charles Rodrigues telling us what's what, and a striking and picture-perfect Parting Shot from Richard Murison. Woody Woodward will return in the next issue.

Thanks for reading, and see you then!

Cheers, Leebs.

Welcome to Copper #59!

Blame any errors in this issue on jet lag, following the Munich show. We've got a brief photo feature on the show here, and we have a video chock full of interviews, here.  Along with our own Roy Hall, you'll see Jeff Dorgay, Steve Rochlin, Ken Kessler, Art Dudley, Michael Fremer, Alan Sircom, and many more. For you pdf types, check the PS Audio YouTube channel.

Our regulars aren't jet-lagged: Larry Schenbeck leads off with a whole mess o'Messiaen; Dan Schwartz worries about things that he hears---and things that he doesn't; Richard Murison takes a detour around Dutoit; Jay Jay French continues his series on his guitar influences, with Eric Clapton; Roy Hall  writes an affecting piece about Jerusalem; Anne E. Johnson brings us  indie band Electric Guest; Woody Woodward concludes his two-parter on Hoagy Carmichael; and I look at high prices and Nagra (not connected!)..

Industry News looks at a new Editor for Inner Fidelity and AudioStream, the sale of Musical Fidelity, and a few short stories about some usual suspects.

Copper #59 concludes with an amorous audiophile caught in the act from Charles Rodrigues, and a striking and slightly eerie Parting Shot from Richard Murison.

Thanks for reading, and see you next issue!

Cheers, Leebs.