The FR30s ship!

After years of work and multiple prototypes, some of which we even took to shows to get opinions, the final FR30 loudspeaker from PS Audio is shipping to anxious customers. 

If you haven’t yet had a chance to check out these beautiful creations—part of our new Aspen line of speakers—go here and have a look.

Gorgeous, right? And man do they sound great. In fact, I have so fallen in love with their extended clarity, openness, and sheer musicality that they have replaced the venerable Infinity IRS V that was for so many years my reference system.

We’ve been taking reservations for them and each is hand built to order. If you’re in the United States we’re asking for a 10% deposit to hold your place in line. We’ve already sold out the first 3 rounds and have opened a 4th reservation round. If you’re interested, go here.

For those outside the United States, we’ve begun shipping FR30s to our distributors in countries all over the world. Please reach out to your country’s PS Audio dealer or distributor for details.

Click here for a list of dealers and distributors.

Experience the Aspen FR30

Octave pricing and releases

For those of you that support us at Octave Records, you likely noticed our latest release, Hothouse Flower by the trio, Scabaret, is more expensive by $10 for the disc set.

This price increase applies only to the physical discs and was necessitated by rising costs of the SACD we have pressed. (Downloads remain at their original price)

There is today only one SACD-capable pressing plant left in the world. It is located in Austria and we have our fingers crossed it will remain alive and well. Should it close its doors that would mean the end of SACD. 

We appreciate your understanding of this price increase and hope you’ll continue to support quality recordings and the musicians, engineers, and artists that make them for Octave.

Thank you.

In an age where purist audiophile labels get criticized for always doing the same sort of acoustic this and that, here comes Scabaret—three of the most talented women I know, along with their producer, Scott Ferris. Together they have crafted a simply extraordinary piece of musical magic.

What they have made may or may not float your musical boat. That’s an individual choice. However, the originality and sheer brilliance of this work cannot be ignored.

It is simply amazing and worth your time to give it a listen.

Oh, and sonically? Wowsers.

If you’d like to get to know the trio Scabaret, watch this short musical journey.

Grab a copy of Hothouse Flower

Audiophile Reference Masters IV

Audiophile Masters, Volume IV is available as a stereo SACD/CD and download bundle and features 10 all-new high-performance tracks recorded, mixed, and mastered to be played back on the finest audio equipment in the world. From great jazz, classical, bossa nova, country, and even a few out of the ordinary gems, Audiophile Masters Volume IV is a classic reference disc worth owning.

Start with auditioning Track One where even on your computer speakers you can get a feel for how great this jazz recording is. And don’t miss Deborah Schmit-Lobis’, Wapiti, or Bill Kopper’s Santa Amaro—All destined to be classics. Our best compilation release yet, Audiophile Masters IV is a wonderfully recorded and performed master recording. This is a limited release so when they’re gone….

Grab a copy today

Copper Magazine

In this issue: Ken Sander has to learn stage lighting – on the spot. Ken Kessler keeps his reel-to-reel tapes spotless, and Adrian Wu keeps his reel-to-reel deck maintained. J.I. Agnew checks out the rare and remarkable L.J. Scully LS-76 record-cutting lathe. Tim Riley reviews rocker Lenny Kaye’s new book, Lightning Striking. I talk about the latest release from Octave Records, Audiophile Masters, Volume IV. Ray Chelstowski interviews the great Duke Robillard about his new album, They Called It Rhythm And Blues. Tom Gibbs has a polished piece on the importance of clean connections.

John Seetoo begins a series on audio’s Grammy-winning power couple, Jim Anderson and Ulrike Schwarz. The Mindful Melophile Don Kaplan has an all singing! Some talking! A little dancing! review of noteworthy classical and other recordings. Russ Welton concludes his in-depth examination of Spinorama loudspeaker measurement. Rudy Radelic covers the career of Brazilian music pioneers Luiz Eça and Tamba Trio. Andy Schaub offers another audiophile song parody with “Nelson Pass Blues.” B. Jan gets traction in his pilgrimage to Sturgis. Anne E. Johnson says yes to the Big Apple avant-punk of the Yeah Yeah Yeahs and the melodic touch of classic composer Alessandro Stradella. The issue concludes with a store with limited choices, buyer’s remorse, 45 degrees of separation, and a good image.

Copper is cost-free, ad-free, and committed to great articles without an attitude.

Sign up for COPPER

Octave DSD Studios

If you haven’t been keeping up with our big construction project to build a state of the art pure DSD studio for Octave Records, here’s a small update along with a video you can watch.

Since Octave Record’s beginning about 1 year ago, we’ve been recording out of borrowed spaces. Some recording have been in PS Audio’s warehouse, others have been upstairs in our temporary mastering and mixing rooms, still others were recorded live on location. The vast majority, however, we recorded at Animal Lane Studios in Lyons, Colorado.

Animal Lane is a great facility but it is small and limited. It is by no means ideal for what we at Octave are hoping to attain in our quest to become one of the top recording facilities in the world.

That is soon to change as we finalize Octave DSD studios. Construction is finally finished. Now it is time to get the wiring in, add furniture, control consoles, racks, rugs, and so on. In the next newsletter, I will show you what it looks like nearing completion. In the meantime, watch the short video filmed just after construction was completed.

Watch the film


Just think for a second of how many variables there are to pay attention to in recorded music: tonality, imaging, transients, frequency response, separation of instruments, and so on.

That’s one big gulp of information.

With all that information the best we can hope for when we critically listen is to notice if anything jumps out or is missing. There are just so many possibilities of what can go right or wrong that it’s easiest to just see what makes itself known either by sins on commission or omission.

Spotlighting is different. When we focus our attention on a narrow sonic area, say sibilance, it’s much easier to discern whether or not the problem exists.

Of course, if you’re not me, or Darren, or Chris, or Scott—people who make a living paying attention to minute details that make up our music—then it’s unlikely you’re doing a lot of spotlighting. It is, however, a wonderful skill to have in one’s back pocket when it comes time to evaluate a new piece of kit or a new release of music.

Otherwise, sit back and enjoy!


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