Mini Brazilian Beasts

When Chris Brunhaver and I traveled the US setting up the new FR30 loudspeakers, our go-to reference track of music—the one that had people begging us for a copy—was a cut off of Octave Record's newest release, Brazilian pianist and composer Carmen Sandim's Mini Brazilian Beasts

Without question, this is a sonic standout. A real knockout recording in pure DSD by Colin Bricker and Kevin Lee, mastered by Gus Skinas, and produced by Grammy-nominated jazz great, Art Lande.

I don't know if we've ever had a recording of this caliber.

If you treasure owning the best reference recordings made then this is one you must own.

One sad note on the album. Track 4, Glen, is beautifully played by Blue Note Record's recording star, trumpeter Ron Miles. During the recording session of Mini Brazilian Beasts, Ron was in the hospital and not doing well. He couldn't bring himself to miss his commitment to perform on Carmen's album and left the ICU to record Track 4. He died a few weeks later. This was Ron's final performance.

Mini Brazilian Beasts is available right now in a limited run of an SACD, archival gold CD, or download.

This is one must-have album for your collection.

Click the album cover below to secure a copy for yourself.

Sneak peek

It's been some time since I've shared with you a sneak peek of what's soon to come. Now it's time.

You're getting your first look at the most exciting new power amplifier we have ever built. The mighty BHK600, the last product designed and blessed by the late Bascom H. King.

This amplifier is by one heck of a magnitude the best amplifier I have ever had the pleasure of listening to. In Music Room 2 it has replaced the venerable BHK300s.

Here's a list of its features:

  • 1.6KVA power transformer for the output stage (50% more than M300)
  • Over 300,000uF capacitance for power supply (Double M300)
  • Tube rectifier for improved sonic performance
  • 50% more output MOSFETS for improved damping factor.
  • Bus bars on output MOSFETS for best power delivery
  • Separate transformer and power supply for tube gain stage 
  • P20 chassis for better cooling and higher class A bias
  • Microprocessor monitoring of power supplies and bias levels
  • 110 pounds guaranteed to stay put during F3 tornado

Projected retail price is $32,500 the pair.

More info when I have it available.

Copper Magazine

In this issue: Ivan Berger remembers the late Bascom H. King, with comments from Paul McGowan and myself. I conclude our coverage of AXPONA 2022 (lots of photos!) and Ken Kessler reports on the recent UK Tonbridge AudioJumble (lots of photos!). Wayne Robins reviews albums from Arcade Fire and Jon Batiste. Anne E. Johnson considers countertenors, and New Orleans songwriting legend Mary Gauthier. John Seetoo concludes his series on another Southern songwriting great, Shelby Lynne. Tom Methans spends some quality time with the Grado RS1x headphones. Jack Flory begins a series on his favorite concert venues: first stop, Colorado. Andrew Daly takes Solace in the album of the same name by Held By Trees, and interviews the band.

Adrian Wu continues his series on the joys of monophonic LPs. I cover two new releases from Octave Records: the “Gypsy Grass” group TIERRO Band with Bridget Lee’s Everlasting Dance, and Audiophile Masters, Volume VI. Ray Chelstowski interviews Lawrence Gowan, keyboardist and singer with rock titans Styx, celebrating their 50th anniversary. Rudy Radelic makes the finish line at the 24 Hours of Lemons road rally. Steven Bryan Bieler begins to reveal the secret history of tribute albums. B. Jan Montana’s monumental journey continues. J.I. Agnew finds hardware that makes the cut with his continuing series on record lathes. Tom Gibbs concludes his series on singer/songwriter Nick Drake in high-resolution audio. Russ Welton begins a two-part interview with vinyl mastering engineer Lewis Hopkin. We round out the issue with a pressing decision, undercover listening devices, nothing short of a miracle, and a skyward ascent.

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

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When our eyes are assaulted with a bright flash of glare we put our hands up to shield ourselves.

It’s not a whole lot different with audio. A biting dose of glare makes me cringe and reach for the volume control.

Glare is that overly bright sound that rides atop the music. It has any number of causes.

Glare can be found in electronics, especially in lower-end consumer goods. It can be caused by an overly aggressive tweeter or the bite of an overloaded midrange dome.

Whatever its cause, glare is perhaps one of the most undesirable traits our systems can sometimes be plagued with.

We can tolerate all sorts of imperfections: wooly bass, deficient depth, recessed midrange, even a bright or aggressive top end.

But add a bit of glare and we’re running for the hills.

If your system bites with a helping of glare, it’s not that hard to narrow down where it’s coming from.

If it changes with level it’s likely coming from the speakers or power amplifier. To narrow down between the two it’s often not that difficult to borrow another amp and see if the problem persists.

You can switch sources to see if it’s specific to one type of media.

Cables too can have an impact, but more often than not we’re mistakenly using cables to ameliorate the problem in the first place.

It’s worth your time and effort to narrow down the cause (or causes) of this debilitating sonic no-no.

Time spent well if you can eliminate it.

Thanks for reading. Let me know if you have any questions or comments. You can simply reply to this email address of the newsletter.


Paul McGowan


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