Copper

As you read this, I'll have just returned from the  Munich  High End show, the largest audio show in the world. Or at least the Western world, if we must split hairs.

To my shame, I've never been to the Munich show before. While I'm looking forward to it, I have a bit of angst regarding my very rusty high school Deutsch, no matter how many times folks assure me that it won't be a problem. Oddly, I can still recall several of the dialogues I had to memorize for Frau Shelton, 45 years ago---but I don't really anticipate having too many discussions about how high the grass is!

I'm reminded of the old joke, first told to me by a Dane who speaks six or seven languages:
-What do you call someone who speaks three languages?   ---Trilingual. -What do you call someone who speaks two languages?  ---Bilingual. -What do you call someone who speaks ONE language?  ---AMERICAN.

Hilarious, no? (Okay, no.) I believe my testy response was, "if our country was as TINY as yours, we'd have to speak six or seven languages, also." Oh, well.

At any rate: I hope to have a feature about the Munich show in the next issue---possibly the next two, if there's enough of interest to show you. I certainly won't bore you with the same old tired stuff you've already seen ten times.

Meanwhile, I think we have another strong issue. Professor Schenbeck leads off with his look at classical concept albums, Dan Schwartz writes about Bernie Leadon and the Flying Burrito Brothers ; Richard Murison examines the thorny issue of sample rate conversion; Jay Jay French tells a tale of a high-end system delivered in Long Island; Duncan Taylor goes down the long list of talented folks he's recorded; Anne E. Johnson introduces us to Pura Fe'---and I urge you to listen to this artist, who sounds like Bonnie Raitt one minute, Steely Dan the next;  our record reviews were both new, last issue---Anne is back with the Something Old part; Industry News tells about texting music (?) and the latest chapter in big retail; and I write about  music education (or lack of it), and the next segment of  the horn speakers saga.

As promised last issue, John Seetoo is back with a terrific interview with Chad Kassem, possibly the busiest guy in audio. We're happy to have our old friend Ken Kessler back as well, with another look at Neglected Artists. Think of this installment as the Lost Chapter....

We wrap up with an amazingly detailed In My Room from our pal B. Jan Montana, and another lovely Parting Shot. Our friends Woody Woodward and Jim Smith will be back soon.

Until next time: Später!

Cheers, Leebs.

Welcome to Copper #32!  If you're a reader of fine print (and who amongst our readers is not?), you've probably noticed that the legend on our cover has morphed from "Journal of Music & Audio" to "Music, Audio & the Good Stuff".  Fear not, faithful reader: we're not abandoning our focus upon audio technology and history and in-depth looks at all kinds of music-making---we're just going to occasionally look at other fields of endeavor where artisans strive for excellence. We all know dedicated audiophiles who are equally devoted to cars, watches, pens, wine...we're going to have expert introductions to those kinds of specialist, high-end interests.

Our first piece along those lines is about CHEESE, Gromit! Our new contributor Chloe Olewitz is a widely-published freelance writer based in New York--- who also happens to be a cheesemonger. Among other things, Chloe will explain just what a cheesemonger is (and no, it's not a cheese-eating dog, like Nipper on our cover---that would be a cheeseMONGREL).  I hope you enjoy her piece, and are inspired to  branch out from your cheese-comfort zone a bit.

Our regular crew has once again produced a strong issue. Professor Schenbeck leads off with a look at musical exiles; Dan Schwartz looks at Bernie Leadon ; Richard Murison examines a different type of digital phenomenon;  Jay Jay French tells us about his other life, as a high-end audio salesman; Duncan Taylor introduces a supergroup trio that is not Cream; Anne E. Johnson introduces the extraordinary Irish indie artist Hannah McPhillimy; Woody Woodward turns his unique perspective to 'That's all, folks!"; and I write about being nice (ME??), and horn speakers.

Something Old/Something New looks at two recent releases, from Thurston Moore and Father John Misty. Don't worry, Anne E. Johnson will be back with the "old" next issue, with a survey of recordings of the music of Antonio Caldara. Industry News has more news from Neil Young (Neil 9.0?): can you say, "streaming"? Sure ya can. In our features, we have Jim Smith back with Audiophile Therapy; Chloe Olewitz  presents that aforementioned piece on cheese; and reader-turned-writer Rudy Radelic tells us about his experiences at Axpona. As usual, we close with a reader's system In My Room, and a lovely Parting Shot.

We'll be back next issue with a number of surprises, including another interesting John Seetoo interview---this one with Chad Kassem.

Oops: so much for surprises!

Cheers, Leebs.

By the time you read this, Axpona will be over. With the blessings of the pixel pixies, we'll have a feature next issue.

We seem to be well and truly into Spring, here in Boulder---days are sunny and warmish, things are in bloom, allergies are aggravated. May snowstorms are not unknown here, but seem awfully unlikely  when sitting in the sun.

All this means that there is life beyond the listening room. What better than to sit on your deck or in the park, and read Copper? And yes, you have my permission to enjoy a beverage or two...

This issue is full of good stuff, says the ever-modest Editor.  Professor Schenbeck leads off with a look at American-made symphonic pieces; Dan Schwartz introduces us to Swiss composer Nik Bärtsch; Richard Murison branches out to discuss temperament, equal-, well-, and foul-; Jay Jay French reveals the mysteries behind pop music and politics; Duncan Taylor returns to the genre of Livetronica with EOTO; new contributor Anne E. Johnson writes about the dramatic indie artist Brendan Maclean;  Woody Woodward takes an emotional and evocative look at Johnny Winter; and I write about tone and the Mother Of All Speakers (no, really).

Something Old/Something New contains reviews of records by two wildly-different artists: Damaged Bug and the Trans-Siberian Orchestra (!?!). Industry News has more bad news about retailer hhgregg, and the bizarre return of Neil Young to the contentious world of hi-res. We have three strong features: first, tube amp designer Roger Gibboni writes about that mysterious warmth; our friend Jim Smith is back with more answers to reader questions; and reader-turned-contributor B. Jan Montana once again faces domestic discord. We wrap up this issue with another reader system in In My Room, and a timely Parting Shot.

One final nag/reminder: 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---which will be back soon, along with new interviews, more new contributors, and new topics.

Until next issue---enjoy Spring!

Cheers, Leebs.