Octave scores again!

Wowsers as my lovely wife Terri is fond of saying. Just wowsers. Octave Record’s latest release is a sonic and musical knockout. Beautiful melodies, great music, and to date our best recording. This is one release you have to give a listen to.

The recording was brilliantly captured in pure DSD by Octave Records’ engineer, Jay Elliott at Animal Lane Studios. Once tracked (as the engineers call the actual recording itself) the album was mixed back at PS Audio on Neil Young’s Studer analog mixing board (as well it was also owned before Neil by the Rolling Stones).

The mixing process is, frankly, where the sonic magic happens. I had always thought that magic was captured by the recording engineer and the mix engineer merely put it all together. How wrong I was.

Turns out that like anything in high-end audio, if you don’t get it off the source correctly, then whatever happens later in the audio chain doesn’t much matter. That said, if the engineer does manage to properly capture in pure DSD the original recording, then what we drop our collective jaws over is found mostly in the mix.

Head here to this page and have a listen to just the 30-second snippets. You’ll know right away just how good this is.

Grab a copy before they are gone


We’re audiophiles, right?

So, I guess it shouldn’t be much of a surprise when Australian reader Martin sent me this picture from one of his buddies in Malaysia.

I mean, is that not the single biggest power cable you’ve ever seen?

I hadn’t any idea the name of the company other than what I can read on the cable’s shrink wrap label, Avaton.

So, being the curious type, I looked them up, and here’s what I found.

Click on this link to read about the Avaton power cables.

The website’s interesting but honestly, this picture says it all.

La Republique Du Son

France is the symbol of romance, style, food, wine, fashion, and passionate HiFi lovers. Of all the shows I have attended around the world, the French shows were by far the most intense and passion driven. 

Frenchman, André Gide wrote, “Toute chose appartient à qui sait en jouir” which translates to: Everything belongs to those who can appreciate it. And yes, there’s no finer group of people to appreciate the best music and audio have to offer than we audiophiles.

This brings me around to the point of all this—a big welcome to our newest distributor, La Republique Du Son.

Located at 14 rue de la hacquiniere 91440 Bures sur Yvette, here’s a link to their website.

Check out our newest distributor

Copper Magazine

In this issue: J.I. Agnew wraps up his interview with Martin Theophilus and the Museum of Magnetic Sound Recording. Editor Frank interviews Jay Jay French about his brand-new book, Twisted Business: Lessons from My Life In Rock ‘n’ Roll, and cover Octave Records’ latest release, Clandestine Amigo’s Things Worth Remembering. Tim Riley reviews a new disc of Leoš Janáček music by pianist Lars Vogt. Rudy Radelic begins a series on the music of Burt Bacharach. John Seetoo continues his in-depth look at Christian rock innovator Phil Keaggy. B. Jan Montana keeps riding to Sturgis. Ray Chelstowski interviews former Spirit band member-turned-lawyer Al Staehely about some rediscovered recordings.

Anne E. Johnson gives insight into the music of soul icon Isaac Hayes and 18th century French composer Jean-Philippe Rameau. Ken Kessler begins a series on getting back to his reel-to-reel roots. Tom Gibbs reviews Bob Dylan’s new Springtime in New York: The Bootleg Series Vol. 16/1980-1985 set. Russ Welton concludes his interview with dazzling guitarist and film composer Michael Baugh. Ken Sander revisits the 1973 Summer Jam at Watkins Glen. David Snyder demystifies Roon. Steve Kindig gets into music from the Analog Africa label. We wrap up the issue with a groovy guy, a praiseworthy achievement, some questionable system upgrades, and a wizened tree.

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

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Audiophile Day

In this issue of the PS Audio newsletter, we’ve focused a lot on audiophiles: their cables, their passion, their love of music and all things to do with sound reproduction.

Turns out there’s a special day officially set aside for us audiophiles: October, 2nd, Audiophile Day!

Audiophile Day is enjoying its 6th year of celebration. Audiophiles from all over the world will hopefully bond together if even for just a moment. We’re “brothers in arms” (to steal from Dire Straits) when it comes to our passion and interests in all things audiophiles love: music and its faithful reproduction in the home.

Head over to the Audiophile Day official website here, and post a comment. We’d love to have you participate.

If you’re a tweeter, you can tweet here.

Post a comment


If we make a change to our room or equipment for the better, one that gets us closer to the music, was it achieved by a fundamental change or by the removal of existing obstacles?

When I first asked myself that question my immediate answer was semantics. What’s the difference if we achieve better by removing obstacles or improving performance?

I believe it’s more than semantics. In fact, I think it may be at the core of what we do.

Lowering distortion might be viewed as removing an obstacle while improving the slew rate probably qualifies as an enhancement. Both work to improve performance, each in a different way.

Perhaps another way to look at this would be the difference between removing obscuring veils vs. improving dynamics. Or, for a more common metaphor, the difference between cleaning a room vs. redecorating. One makes better what is while the other addresses fundamental weakness.

Lumped together they become more difficult to focus the engineer’s efforts.

Viewed as separate tasks we clear away misconceptions and arrive at a clearer path towards better performance.


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