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Issue 158

Springtime Solace

Springtime Solace

Frank Doris

For me, music always has been, is, and will be, solace. Even during, and perhaps because of, the toughest times.

In this issue: Wayne Robins sometimes sits and listens to Courtney Barnett. Tom Methans hangs out with Frank Sinatra – for real. Our Mindful Melophile, Don Kaplan, isn’t afraid to listen to classical music. Anne E. Johnson looks at the career of Yusuf/Cat Stevens and finds that composer Francisco Guerrero is catching on again – five centuries later. Tom Gibbs covers the 2022 Florida Audio Expo. Jay Jay French doesn’t take solace in audio these days. John Seetoo talks some more with Grammy Award winning producer/engineers Jim Anderson and Ulrike Schwarz. Ken Kessler makes a reel-to-reel discovery linked to his dad.

Ray Chelstowski interviews Heart and solo artist Ann Wilson about her upcoming album. J.I. Agnew keeps our heads spinning with his continuing series on record-cutting lathes. Ken Sander experiences the ups and downs of touring. Jack Flory builds his first speakers. Rudy Radelic digs deeper into the music of saxophonist John Klemmer. B. Jan Montana continues his epic journey. Andrew Daly interviews Kevin Whelan of indie rockers the Wrens, and Aeon Station. Russ Welton greets us with, how do you Q? I ask if I have what it takes to be an audio reviewer. We put the curtain on the issue with the meaning of life, springtime radio, and a fabled doorway.

Staff Writers:

J.I. Agnew, Ray Chelstowski, Cliff Chenfeld, Jay Jay French, Tom Gibbs, Roy Hall, Rich Isaacs, Anne E. Johnson, Don Kaplan, Ken Kessler, Don Lindich, Stuart Marvin, Tom Methans, B. Jan Montana, Rudy Radelic, Tim Riley, Wayne Robins, Alón Sagee, Ken Sander, John Seetoo, Dan Schwartz, Russ Welton, WL Woodward, Adrian Wu

Contributing Editors:
Ivan Berger, Steven Bryan Bieler, Andrew Daly, Jack Flory, Harris Fogel, Robert Heiblim, Steve Kindig, Ed Kwok, Andy Schaub, David Snyder, Bob Wood

Cover:
“Cartoon Bob” D’Amico

Cartoons:
James Whitworth, Peter Xeni

Parting Shots:
James Schrimpf, B. Jan Montana, Rich Isaacs (and others)

Audio Anthropology Photos:
Howard Kneller, Steve Rowell

Editor:
Frank Doris

Publisher:
Paul McGowan

Advertising Sales:
No one. We are free from advertising and subscribing to Copper is free.

 – FD


Kevin Whelan of the Wrens and Aeon Station

Kevin Whelan of the Wrens and Aeon Station

Kevin Whelan of the Wrens and Aeon Station

Andrew Daly

Kevin Whelan is an indie-rock veteran who had long been on the scene with his band, the Wrens. The group, dating back to 1989, has been beloved by fans and acclaimed by critics, but hadn’t released any new music since 2003’s The Meadowlands, despite some fits and starts. Whelan grew tired of waiting on the other band members to release new music, and knew he had to make a change.

In 2021, in the wake of the Wrens’ demise, Whelan formed a new outfit, Aeon Station, with the intent of reaching a patient fanbase and to finally express the thoughts and feelings he’d long been harboring through the only means he knew how – by making music.

To say the songs have had a long journey is an understatement, as they were locked in a limbo of sorts. The tracks were originally intended for a new Wrens album, which never came to be, and for a long time, Whelan feared they would never receive the light of day.

Aeon Station’s Kevin Whelan is joined by old Wrens bandmates Greg Whelan on guitar and Jerry MacDonald on drums, with assistance from producer and guitarist Tom Beaujour. The album, Observatory, is everything fans of Whelan and company have been waiting for all these years, and then some.

I caught up with Kevin Whelan to ask him about his life, career, and newest music.

 

Aeon Station, Observatory, album cover.

 

Andrew Daly: Kevin, I appreciate you taking the time to talk. How have you been holding up over the last year or so? What have you been up to?

Kevin Whelan: Thanks so much for asking me to do this [interview] and let your readers know about Aeon Station. I think the last few years have been a bit of suspended animation with trying to figure out this new life in the times of COVID, and what it means for each of us. These past twelve months have really [brought] this renewed focus and enjoyment with music. Given all of the life challenges we are all facing, it has been a lot of fun to just disappear into music.

AD: Before we dive into your professional career, let’s go back a bit. What first got you hooked on music?

KW: I would say, my mom. My parents loved music but were not musical. One day, my mom bought a piano from a fellow school teacher. She only brought it home because she needed to fill space in the dining room. I would look at that old wooden box with these broken keys and be captivated. I asked for piano lessons.

AD: Who were some of your early influences?

KW: That’s super easy: the Beatles and Liberace.

 

AD: Let’s talk about recent events. Tell us about your new project, Aeon Station, and your new record, Observatory. How did they come together?

KW: It all came together very fast. I laugh because I say fast, but nothing in my musical life has been fast. But the name for the project, and the album title didn’t come together until May of 2021. The album has five songs that I wrote, recorded, and completed in 2014. The other five songs were written and completed in 2021.

AD: Let’s dig into the lyrical themes on your new album. What message and emotions are you trying to convey? What do you want your listeners to take away from this record?

KW: It’s a great question because it’s really important to me. Without something to sing about, then it’s just a piece of music. And for me, without the words, it’s not alive yet, but [writing the lyrics is] also the hardest part as I question myself over and over again. In saying that, and thanks for asking, with Observatory, I wanted it to be honest and genuine. As I’ve gotten older, I’ve realized the closer I get to being completely genuine, the clearer I become. [And] that the message is clearer to understand.

Believe me, I am beyond happy if anyone takes to the songs and makes them their own. [If they] interpret or have their lives reflected in it for them; that is a success. So, I’m really trying to say is, what I want them to take away from it…that is up to them. [Having the] strength to make it through, believing in your dreams no matter how weird it gets, and not diminishing yourself to elevate others.

AD: As fans know, you were a member of the indie band the Wrens. How does this new project compare to your past work? What can fans expect? What excites you most about it?

KW: I love being a Wren and always will be. Being in the Wrens truly defined my life, from [the] jobs I chose, to relationships, to the way I directed my goals. I hope that anyone listening to the music [of Aeon Station] is met with familiarity and respect to the Wrens and our work, but that they also see a new idea here and there. What excited me about [the new album] is that they are new songs that are now [also] part of a long collection of songs I’ve been part of. Also, it’s so dumb, but after thirty years, I’m actually enjoying just writing songs that have no intent or expectations, other than just sitting at the piano.

AD: Easy questions now. What are a few of your favorite albums, and why?

KW: Oh wow, like all crazy music fans, I have way too many. But let’s go with: the Flaming Lips’ Yoshimi Battles the Pink Robots because it’s still Beatles songs wrapped in their weirdness. David Bowie’s Aladdin Sane for the pianos, lyrics, and singing. Vampire Weekend’s Modern Vampires of the City because for twelve songs in a row, it’s near-perfect.

AD: What other passions do you have? How do those passions inform your music, if at all?

KW: My family, [and] my work at Johnson & Johnson. Honestly, I don’t really have any other passion outside of music. Music is the one thing that is always there. I would say, just life in the office, travel, and the ups and downs of life directly influence the music.

AD: What sort of equipment do you use in the studio, and live?

KW: Well, at home, I’m a hot mess. I only use one Peluso mic, one old Peavey keyboard amp my parents bought when I was 16, and a Mac from 2005 with Logic [Pro recording software]. The other part is awesome, which is working with Tom Beaujour at his Nuthouse Recording studio in Hoboken, New Jersey.

 

As far as live, I play an old Yamaha bass, again bought when I was 16. It’s been sawed up, drowned, lit on fire, thrown, broken, and I’m not kidding. It’s a great old pirate of a friend. It’s sort of the Michael Myers of bass guitars. (laughs)

AD: Do you collect vinyl? CDs? Cassettes? Or are you all digital now? If you do collect physical media, why is that important to you, and why would you feel that keeping physical media alive is important in this day and age?

KW: I have vinyl, CDs, cassettes, mini-cassettes, and on and on. And yes, of course, digital. The physical because music is physical, and it’s art. To have that in your home or office, I feel defines who you are as much as a painting on the wall, or books, or furniture. As for digital, it offers amazing access to so many great songs from artists I would have never known. I am glad to see both finding a space to exist.

AD: Last one. What’s next on your docket? What are you looking forward to most in the post-COVID world? Do you plan on hitting the road or playing any festivals in 2022?

KW: Next will be shows in 2022. Given COVID safety, it will be awfully nice to play music again. I haven’t played a show in over 11 years. Thanks again for these questions and for supporting the music. You truly have no idea how much it means to me.

Header image courtesy of Ebru Yildiz.


Jim Anderson and Ulrike Schwarz: Immersive Audio’s Power Couple, Part Three

Jim Anderson and Ulrike Schwarz: Immersive Audio’s Power Couple, Part Three

Jim Anderson and Ulrike Schwarz: Immersive Audio’s Power Couple, Part Three

John Seetoo

With multiple Grammy Award wins and nominations to their credit, as well as European awards such as the Echo Klassik and Le Diamant d’Opera, Jim Anderson and Ulrike Schwarz have a unique personal and professional partnership that has resulted in a wide range of critically-acclaimed, co-produced and co-engineered recordings. Currently, the duo is up for a 2021 Best Immersive Recording Grammy nomination for jazz artist Patricia Barber’s Clique (reviewed by Tom Gibbs in Issue 144). Part One of our interview in Issue 156 included their thoughts on making their mixing techniques as “invisible” as possible, in working with live orchestras and big bands, and discussed their favorite recordings done by each other. Part Two (Issue 157) delved into their earlier work using analog tape, their approaches towards recording unfamiliar instruments and different types of ethnic and regional music, and their transition into digital recording.

Ulrike Schwarz: At this point, I’m regretting that I gave away my Studer A-80 16-track two-inch [analog] machine when I moved to the United States. I’m sure we can find it, though. I know who has it.

But otherwise, I think high-resolution digital is the thing. It’s very stable.

Jim Anderson: The other thing is, we probably couldn’t have done the recordings we’ve done [with the [Stavanger Symphony Orchestra] in Norway, in analog. I mean, the fact that we could actually walk in there with [just] a computer and an interface…if we had to walk in there with a two-inch tape machine and tape – that would have been just impossible. Digital has allowed a lot more portability.

 

US: Also, immersive audio recording wouldn’t be possible, because our main microphones – we had 13, [plus] we had about 60 additional microphones on stage and all of them were used. You can’t do that with 16 tracks.

John Seetoo: Which artists, living or dead, do you wish you had the opportunity to work with, and why?

US: Leonard Bernstein. Bernstein, but unfortunately, he’s very dead.

JA: We have friends that worked with Bernstein and the stories that are told…even the fellow in the control room having to order lunch was quite a trip. [Engineer] Don Puluse talked about when he was recording the Bernstein Mass and mixing it.

Link to Qobuz: https://open.qobuz.com/album/mapvxh6hcz2mb

Bernstein would order at the 21 Club [the restaurant] and they would bring over lunch on a cart, because Columbia [Records] was around the corner. The story that they don’t tell – well, I think we’re allowed to tell this now, but when the bill came, he didn’t know what to do because he wasn’t used to picking up the bill. (laughs)

In the jazz world, you know who I would love to have worked with? Henry Mancini. My friend Al Schmitt worked with him for years and so I was able to talk to Al about Mr. Mancini. Also, Mr. Mancini is from my area of Pennsylvania, so I grew up following his career. Ulrike’s probably tired of it, but every once in a while, I will pull out a Mancini record and just put it on the record player. Working in Hollywood, on sound stages, recording any of those scores that he did for film – that would have been something I would have liked to have done.

Link to Qobuz: https://open.qobuz.com/album/0886445007404

US: Mr. Bernstein spent most of the ’80s, actually, in Europe, and a lot of time with the Bavarian Radio Symphony. And of course, my colleagues, the older colleagues from radio, had all these stories about their Bernstein recordings and traveling with Bernstein and all these things, and just actually sitting there listening to him in rehearsals, which he’d done for more than over a decade. You learn so much about music, and how these conductors really are. And you’re getting paid for it. Every week was with a major conductor.

Somebody that I would also love to work with, and whom I only had once the opportunity to see in concert – because she usually cancels when I have tickets – is [pianist] Martha Argerich. Of course, I mean, she’s like one of the holy, holy saints to me.

JA: Another person I find fascinating in every aspect is Glenn Gould, both in his solo piano recordings, but also on his radio documentaries for CBC [the Canadian Broadcasting Corporation], The Idea of North and all that kind of thing.

 

 

 

I teach a podcasting class at NYU, and I get the kids to actually listen to Glenn Gould’s radio documentaries. I’m sure he was impossible, his demands and the working methods, but I think the result…

JS: Would you have put his humming on a separate track?

JA: (laughs) The thing is, you don’t have a choice. It’s everywhere, it’s ubiquitous, it’s on every… you know, you just can’t do anything about that.

US: And it’s a very good way to keep people from editing!

JA: Like Gould, Billy Taylor also hummed along when he played and he would try to have us not get his humming in a recording. People work differently when it comes to that kind of thing. I know what you mean by Gould, but if it’s a natural noise [like someone humming], that doesn’t bother me. If it’s an electrical noise, that’s when my ear perks up.

 

Jim Anderson and Ulrike Schwarz at Skywalker Sound.

Jim Anderson and Ulrike Schwarz at Skywalker Sound.

 

JS: What has been your biggest challenge in mixing for immersive audio? In a past interview you mentioned a client that expected elements to magically show up in your mixes, even though they were never actually recorded! Have your Grammy-award-winning reputations in the immersive area magnified these kinds of unrealistic expectations?

US: I think the biggest part is when somebody comes to us and says, “we would like to try for a Grammy nomination…” and this does happen (laughs). I think managing the expectations from the start is one of the most important aspects.

For example, Stavanger [Gisle Kverndokk’s Symphonic Dances, recorded by the Stavanger Symphony Orchestra] was a case like that. And we made it very clear that you can’t [expect a Grammy] on the first…First of all, we can’t go here. Second, not the first time out. The [artist] has to build up a name. And if the music isn’t happening, then it will not get recognized. [Symphonic Dances eventually did garner a Grammy nomination for Best Immersive Audio Album – Ed.]

JA: I think another aspect of what Ulrike is saying is: when you blow this music up into immersive [sound] and it’s coming out of X amount of speakers, the music itself has to be really good, because the bigger you make it, if the music is lame, it just sounds big and lame. So, you really have to have a great musical performance to really put this thing across.

US: In classical music it’s actually more difficult to edit in immersive, because a lot of things you can hide in stereo, and it gets a little more difficult in 5.1. Also, in immersive audio, you have to be really very sure about your edits, so the performance has to be even better, because the editing possibilities are smaller.

 

Ulrike Schwarz at work.

Ulrike Schwarz at work.

 

JA: In immersive, especially in classical music, you can hear these very subtle changes in the “air.” So, you can’t just go plugging in note after note after note. You really have to have a great performance that doesn’t need a lot of surgery applied to it.

JS: You’ve both been working in immersive audio for a long time, and seen its growing pains and development up to its present state of the art. During that time, what breakthroughs along the way made you go, “wow, that sounds wonderful! That’s going to be something I’ll be able to use for the next 20 years.” Or on the other hand where you thought, “I don’t think that’s going to stand the test of time.”

For example, did you think that the dummy heads historically used for binaural (stereo) recording, would now be coming back into use? (Binaural recording involves using two microphones, often with a literal dummy head with microphones placed at its ears. It can be extremely effective in creating the illusion of “3-D” stereo sound and being in the room with the performers.)

JA: The dummy head recording, true binaural recording, is really very effective, especially if you listen to the playback on headphones. [If] you listen to a recording on speakers, not so much. But, if you take the dummy head and put it in the proper placement, [you will hear] a very effective playback. Things have gotten better. A good two-channel binaural recording can be a very effective way of listening to music.

The Neumann KU 100 is actually an excellent microphone system.

US: It costs over $10,000. And we’ve been in two auctions last year trying to actually get one and the prices were outrageous. We didn’t get it, ’cause it was too expensive. So, there you go. We would have loved to have one of them.

 

Neumann KU 100 microphone and dummy head system.

Neumann KU 100 microphone and dummy head system.

 

JA: I did an immersive mix back in, I think, ’98 – and I’m happy it didn’t come out, because it was my first [one]. The reason it didn’t come out was that at the time we didn’t have a format to distribute it. There was no Blu-ray, SACD, 5.1 distribution, [or] any kind of file downloading or anything like that. And so, I got to make some mistakes early, early on that nobody ever got to hear, so I’m very happy for that.

In fact, one of the first things I did in around 2003 was for the FIM [First Impression Music] label. They wanted to record in stereo but also wanted to start working on a 5.1 [mix] and I was trying to figure out a way, as we only had eight channels for recording at the time, using the [Sony] Sonoma system.

Link to AllMusic information: https://www.allmusic.com/album/autumn-yearning-fantasia-mw0000322688

I talked to [mastering engineer] Paul Stubblebine. And I said, “you know, if I get you a good left and right [channel], and then if I print stems [a grouped collection of audio sources, such as a drum track – Ed.], or elements that could be put into the center channel and put into the rear, from that mix – would you mind if we did that? Kind of combining in 5.1 at that time?” I was trying to get a good anchor of a left and right [channel mix]. And then, okay, how can we now fill this out? That’s sort of how I came to work in surround originally.

We presented that at the 2003 Audio Engineering Society (AES) Conference in Banff.

Paul was there. We showed our recording with a huge stereo and surround [system]. It was almost like a 1959 stereo demonstration, but we were going not from mono to stereo, but from stereo to 5.1. So, that was kind of a way to start. And then we kind of kept working at it. We graduated from 5.1 to 7.1 to 11.1. And now we’ve been doing mapping into Dolby Atmos. We’ve been finding that to be a successful way to work.

US: My genesis is a little different, because when I started at Bavarian Radio, they were already doing 5.1. So, orchestral recordings and orchestral broadcasts were in stereo and 5.1. They sent me to Japan to learn from the Japanese NHK people, who were far advanced in that, because they were already doing 5.1 all the time, and in 2006 had already developed what is now their standard of 22.2 three-dimensional recording.

In 2006, that was the first time it was presented to me, and that just blew me away, because it came with 8K video. It was just, it was just amazing. And I was able to learn from them. So, I think from 2006 on, I was doing 5.1.

In 2010, we were invited to go to the upcoming [AES] Spatial Audio conference, the successor of the 2003 Banff conference.

Three weeks before that I did my first 9.1 recording with Simon Rattle conducting a Schumann oratorio. And I could track it in 9.1, but of course, I could never mix [it] in Germany or at Bavarian Radio; I couldn’t play it back. So, I flew to Tokyo to mix it there to present it a few days later in Tokyo. The fascinating thing that I experienced [in] going from 5.1 to 3-D was that the [sonic] transparency was even better, and you could make things “float.” At that moment, I didn’t know what I was doing. But somehow, I had placed my height [channel] microphones near the choir. And so, all of a sudden, I had this third dimension where the choir started to go up in height. I had the orchestra and the soloist, and then the choir was just floating on top of it. It was an effect that I hadn’t counted on, but I really loved. All of that came very, very early. And so, developing this to what it is now has been just some fun, but we’ve [also] done it for a rather long time.

Ulrike noted: The recording was Robert Schumann, Das Paradies und die Peri, performed by the Bavarian Radio Symphony Orchestra and Choir (Symphonieorchester und Chor des Bayerischen Rundfunks). The recording and stereo and 5.1 broadcast took place in September 2010.

Sir Simon Rattle was the conductor. The soloists were: alto Magdalena Kožená (Angel), sopranos Sally Matthews (Peri) and Kate Royal (Maiden), tenors Topi Lehtipuu (narrator) and Andrew Staples, and baritone David Wilson-Johnson. The immersive version was a 5.1.4 recording that I mixed at Nippon Hoso Kyokai (NHK) Research and Development Laboratories in Tokyo in October 2010. The recording was presented at the 40th AES Conference for Spatial Audio October 8 – 10, 2010 in Tokyo.

Sir Simon Rattle was, at the [time] of the recording, chief conductor of the Berlin Philharmonic Orchestra and with the label EMI exclusively. It wasn’t possible to release this as a CD. Now that Sir Simon has been appointed chief conductor of the Bavarian Radio Symphony Orchestra, the hopes to release this recording on the BR-Klassik label are high.)

JS: This question is for the Copper audiophile audience. Do you share, or do you have separate reference personal music listening systems at home? What do the components consist of?

JA: Ulrike always likes to say: “In this household, we have at least five subwoofers.” We’re sitting in the dining room right now, and we’re surrounded with a 5.1 system [where] we can listen to CDs, and SACDs and Blu-rays in 5.1. It’s a Marantz SR 6014 multi-channel amplifier with Eclipse main speakers plus an Eclipse TD725SW MKII subwoofer and a Sony UBP-X700 multiplayer.  In the living room is a system I’ve had for a very long time, which [includes the] Wilson WATT/Puppy speakers and subwoofer with a Mark Levinson amp and preamp – the No. 23/25 combination or something like that. Plus, a Linn LP12 [turntable].

And there’s an Oppo UDP-205 [Blu-ray player] down here. Upstairs is where the TV is, [with] an Oppo UDP-203 [Blu-ray player and a] Yamaha Atmos soundbar with a subwoofer. Ulrike’s mastering room has Wilson CUB loudspeakers…

US: …Assisted by an Eclipse TD725SW MKII subwoofer, and I have Benchmark AHB2 monoblocks with the HPA-4 preamp and, well, my DAW [digital audio workstation]. While I have [an] iFi Diablo [DAC], usually I work with Merging [Technologies pro audio hardware].

 

Benchmark HPA4 headphone/line preamplifier.

Benchmark HPA4 headphone/line preamplifier.

 

JA: Since the pandemic started, we haven’t had a living room, so the Wilson system also sits next to our mixing system, a stereo mixing system which has Meyer HD1 [monitor speakers], and then with the Merging system I have…

US: …A little Millennia mixing board…

JA: …Plus the Avid S1 mixing system – a couple of those, so I have faders I can actually mix on.

And then, we have the Capitol Chambers [Universal Audio software plug-in version of Capitol Studios’ famous echo chambers] available to us, which is really quite wonderful. So, we can [do] mixing here. In fact, we actually mixed White Lotus with Min Xiao-Fen in the living room. It’s also recorded in super-high-resolution. And frankly, to me, it’s every bit as good as anything I’ve ever been able to turn out of a New York studio, which is enlightening and depressing at the same time, because I love working in New York studios.

US: We actually went a little wild – we have all custom-made cables; all AccuSound cables. We installed power [conditioners] and exchanged [the stock power] cables…

JA: …for MusicCords from Essential Sound Products.

US: So, actually, there is less noise [in the setup] because the cables are much shorter. It’s not like they have to run through patch bays [in a recording studio] and everything. And so, it is depressingly good what you can come up with. But I also love to go out to big studios…what was the second part of the question?  What if we had unlimited budgets and unlimited space at home?

We both love the B&W 802 [loudspeakers]. The old B&W 802s that they have at Skywalker [Sound], I would love to have them at home. Alternatively, the Magicos – I’ve fallen in love with those. Wouldn’t those sound nice in Brooklyn?

JA: I think it’s the S5. [Currently the Magico S5 Mk II – Ed.]

 

Magico S5 Mk II loudspeakers.

Magico S5 Mk II loudspeakers.

 

US: We like those a lot. If we could stack them with the Merging Technologies clock [the MERGING+CLOCK] and their whole MERGING+PLAYER system, that will be another nice addition in terms of, you know, getting their “super clock,” which, in the meantime, we have purchased..

I was in the market for tube amps from McIntosh, but I needed them for work. So that’s why I went to the Benchmark [amplifiers], because the [amps I needed] had to be super precise. The McIntosh didn’t give me what I needed there.

 

Benchmark AHB2 power amplifier.

Benchmark AHB2 power amplifier.

 

JA: Yeah, it’s funny in that what we require professionally is different from what we require for listening as audiophiles.

JS: Don’t you need flat response when you’re working?

JA: Well, yes, flat and accurate and precise and very, very fast. We found the McIntosh amps to be very nice, but also a little bit slow and very forgiving and, frankly, we don’t need that. We need to hear something that’s…

US: …That’s giving it up to us straight, you know?

JA: We need something that’s gonna tell us [a recording] is not very good. That’s one reason why I like the Meyer HD1s there; they are not “musical” speakers.

I always find myself saying, if I can work with the HD-1’s and get the mix to the point where I can tolerate it, then it’s going to be a pretty good mix. That then will translate [with] just about any work.

We discovered the B & W 802s during the last three or four projects with Patricia Barber while mixing at Skywalker. And I’ve really come to like those a lot. At Skywalker, you’re [there] for a long time, 12 hours a day at a minimum. And I find the 802’s not to be fatiguing; they’re very, very easy to listen to for a very long period of time.

US: Our main mixing setup at home in Brooklyn is based on Merging Technologies components from their professional line. For mixing, we use an MT Horus AD/DA interface that is connected via LAN to the computer with MT Pyramix software. This enables us to work in resolutions like DXD, 384 kHz, and/or DSD. The digital controllers are, at the moment, several Avid S1s. Stems and outboard gear (if needed) will be summed on an analog Millennia Mixing Suite and re-recorded to Pyramix.

This system can run in stereo, 5.1, or immersive (meaning 3D audio, 5.1.4, 7.1.4, and up to 22.2 formats). After the latest upgrade, we are also capable of creating our own Dolby Atmos files.

The speaker system in our house only allows for 7.1 playback at the moment. For more elaborate mixing and playback scenarios, we like to travel to Skywalker Sound for their excellent control room acoustics.

Part Four will continue with Jim’s and Ulrike’s perspectives on studio monitor loudspeakers; the differences they have observed between listening to music as producer/engineers versus as audiophiles; their extensive work with Patricia Barber; Jim’s tenure as president of AES; and the future applications of immersive audio in gaming and other media.


The Florida Audio Expo 2022 – A Bold Step Towards a Return to Audio Normalcy

The Florida Audio Expo 2022 – A Bold Step Towards a Return to Audio Normalcy

The Florida Audio Expo 2022 – A Bold Step Towards a Return to Audio Normalcy

Tom Gibbs

My second trip to the Florida Audio Expo (FAE) in Tampa was one that was marked with a certain amount of uncertainty and anxiety on my part. Initially, I was all gung-ho about getting to Tampa; then the Omicron variant reared its ugly head in early December. I had already made arrangements to cover the show for Positive Feedback in mid-November, but pulled out a couple of weeks later with the pandemic seemingly raging out of control again. Anyway, the possibility that FAE 2022 would even go on seemed tenuous at best, especially with the unexpected rise of the highly contagious Omicron COVID-19 variant. It seemed at that point to be perhaps more of a risk than I was prepared to take.

Things got less worrisome as January went along, and when David Robinson of Positive Feedback called to see if I’d had a change of heart, I was suddenly pumped to get out and see audio people and some new equipment. Only a half-dozen exhibitors ended up pulling out of the show; there were definitely fewer than in 2020, but there was a surprising amount of traffic through the twelve floors of show rooms at the Westshore Hilton Embassy Suites hotel. The attendance was a bit lighter than the 2020 show, but exhibitors and attendees alike were enthusiastic, so I crossed myself, masked up, and plunged into the thicket with the audiophile masses. When I left home, it was 40 degrees (F), but upon arrival in Tampa, it was 90 degrees(!), which meant shorts and flip-flops for the entire weekend!

The elevators weren’t working in tip-top order, or were often excessively crowded, so I mostly took the stairs throughout the show. When I arrived home on the following Monday, my weekly Fitbit report showed that I’d done almost seventy flights of stairs! Here’s a recap of some of the highlights of what I saw and heard over the four days I was there. I apologize for the highly variable photo quality – I use a point-and-shoot camera, and you typically get either great shots, or shots that are blurry or grainy because the lighting conditions fluctuate so wildly from room to room. All equipment prices shown are in US dollars. Each day will include links to my full coverage over on Positive Feedback; those articles feature more detailed coverage of the systems on display.

Arrival at Florida Audio Expo

The drive to Tampa was uneventful, with the lone exception of the dramatic rise in temperature as I got progressively further south. Upon arrival, I sherpa’d all my gear up to my room and immediately noticed that one of the exhibitors, Geshelli Labs, was located directly across the hall. Unfamiliar with the company name, I only hoped they wouldn’t be cranking out the jam at all hours of the night. I then went downstairs to the evening social, and was sitting drinking a beer, still wearing the Pink Floyd t-shirt I’d worn on the drive down to Tampa from Atlanta. This hipster guy walked by, looked straight at me and proclaimed, “Nice shirt, dude!” I sat and enjoyed the live jazz band a bit longer, chatted with some of the audio folks, finished my drink, and headed back upstairs for the evening.

 

Geshelli Labs' equipment is available in a shocking variety of woods, metals, and color choices!

Geshelli Labs’ equipment is available in a shocking variety of woods, metals, and color choices!

 

Day One

The following morning, I opened my door to head downstairs, and low and behold the “nice shirt” guy was standing in the room directly across the hall. It was Geno Bisceglia, and he and his wife Sherri form the core of Geshelli Labs, which is a family-run business; everyone in the Bisceglia family contributes in one way or another to the success of the Geshelli brand. Which includes a highly customizable DAC and several headphone amps, with everything available in a dazzling variety of wood and metal case finishes and color choices. Geno’s dad does all the woodworking (beautiful dovetail joints on the wooden cases!) and Sherri does the powder coating of all the metal cases. All the wood and metal cases have translucent glass front panels that are available in a multitude of colors, and the illumination of the interior circuitry gives all the equipment a funky, rock and roll glow. And that perfectly matches the Geshelli aesthetic: it’s all about bringing more of a rock and roll sensibility to the high-end. Everything is hand-built in the USA, in Rockledge, Florida, and nothing in their line retails for more than $300.

 

The scale of the sound coming from the Von Schweikert Ultra 7s was hyper-impressive.

The scale of the sound coming from the Von Schweikert Ultra 7s was hyper-impressive.

 

The Audio Company (a high end dealer in Marietta, Georgia) in collaboration with Von Schweikert Audio and VAC, had the largest and most impressive-sounding room at the entire show. The highlight was Von Schweikert’s new Ultra 7 loudspeaker, which retails for $180,000 per pair. I hung out to hear several different tracks from both digital and analog sources, and the music was played with a level of scale and realism that simply defied belief. Never at any point did the sound seem to be coming from the Ultra 7’s – it was as though whichever performer we listened to was actually live and in the room. A very impressive system, to say the least! I talked with a principal at The Audio Company about getting a tour of their Marietta facility for an upcoming article – no dice; they have custom installs scheduled for about the next month or longer. Think the ultra high-end isn’t selling in the current economy? You’d better think again!

 

Ofra and Eli Gershman along with George Klissarov (of exaSound) had one of the best sounding rooms at the show.

Ofra and Eli Gershman along with George Klissarov (of exaSound) had one of the best sounding rooms at the show.

 

The Gershman Acoustics loudspeakers were one of my show highlights back in 2020; this year, they featured a pair of their Grand Avant Garde loudspeakers ($16,000/pair), which had a beautiful blue gloss finish that simply gleamed. The first thing that really impressed me during my listening session was that such a relatively diminutive looking loudspeaker could produce a stereo image of such width and scale that simply defied their smallish dimensions. They were exceptionally musical; the sound was quite intoxicating, and I lingered in the room talking to Eli and Ofra Gershman and George Klissarov (of exaSound) much longer than I’d intended to. The musicality of the Grand Avant Garde was due in no small part to exaSound’s s82 Stereo Streaming DAC ($6,500), which is built around state-of-the-art ESS Sabre 9038 DAC chips. I was really blown away by the musicality of this Gershman/exaSound/Krell/Cardas setup, whether playing music from Patricia Barber or Metallica.

 

Greg Roberts of Volti Audio and "Triode" Pete Gryzbowski of Triode Wire Labs had an impressively good sounding room.

Greg Roberts of Volti Audio and “Triode” Pete Gryzbowski of Triode Wire Labs had an impressively good sounding room.

 

I ventured over to the Volti Audio room to see what Greg Roberts and his frequent sidekick, “Triode” Pete Gryzbowski of Triode Wire Labs had on display. And was somewhat surprised to find that the room featured the ultra-affordable Volti Razz loudspeakers — the same speakers I reviewed for Stereophile in 2020 (you can read that review here) — being driven as usual by Border Patrol tube electronics. True to my recollection of the Razz, they were dazzlingly great-sounding loudspeakers, and Greg told me that he’d made several crossover modifications to the design, and was considering replacing the tweeter with an improved version. They sounded just as good to me as they did during my time with them from a couple of years ago, and at a base MSRP of $6,000 per pair, are one of the runaway best buys in high-end audio. They’ll play any kind of music with a scale of realism that simply must be heard to be believed, and are so very efficient, only a few tube watts are needed to get maximum performance from them.

 

The solid aluminum Thrax equipment in High End by Oz's upstairs room was impressively overbuilt.

The solid aluminum Thrax equipment in High End by Oz’s upstairs room was impressively overbuilt.

 

Connecticut dealer High End by Oz had two rooms at the show; the main level Kennedy Room focused on dual pairs of Borresen Acoustics loudspeakers, amplification from Thrax Audio, and digital playback from Aavik Acoustics. The ninth floor room featured the premiere of a new loudspeaker pair from Thrax, a new Thrax integrated amplifier, a Thrax turntable, and a Vitus Audio player for spinning digital discs. The Borresen 05 Silver loudspeakers ($214,000/pair) were playing in the Kennedy room and are some of the finest loudspeakers I’ve ever heard at any price point. The upstairs room featured Bulgarian manufacturer Thrax, including the Lyra bookshelf cabinets paired with the Maxima side-firing woofer cabinets. Both the Lyra and Maxima were made from CNC-machined blocks of solid aluminum and retail for $41,000/pair. I generally wouldn’t think of a loudspeaker in a metal enclosure as having any kind of superior acoustic properties, but after hearing this combo, I’ve definitely re-thunk that conclusion. The resulting sound was dynamic, but also had great tonal warmth, but you’ll need a wrecking crew to help bring them into your home – each side weighs 210 lbs.

 

I found the MBL room to be musically uninspiring.

I found the MBL room to be musically uninspiring.

 

I spent the least amount of time in the MBL Audio room. With the exception of the Wireworld Eclipse cables connecting the source equipment and loudspeakers, all items featured in this room were manufactured by MBL. I’m not particularly smitten with MBL’s house sound, which, while very dynamic, is perhaps a bit clinical for my tastes, even though the complement of audio equipment and loudspeakers in this room had an MSRP approaching a million dollars. YMMV.

 

The Vivid Audio Giya G1 loudspeakers in Suncoast Audio's main level room gave everything else at the show a run for the money!

The Vivid Audio Giya G1 loudspeakers in Suncoast Audio’s main level room gave everything else at the show a run for the money!

 

Florida dealer and distributor Suncoast Audio occupied the main level Tampa Terrace room, and highlighted the visually impressive Vivid Audio Giya G1 Spirit loudspeakers ($85 – 93,000 per pair depending on crossover options). I hung out in this room for a really long time. The Vivid loudspeakers played music with incredible scale and impressively deep bass. At first, I didn’t think they were in the same league as some of the other “big” systems on the main level, but my impression changed when I moved to the rear of the room and the musical selections transitioned to heavier tracks. These included a 2016 live track from the current lineup of King Crimson, “The Hell Hounds of Krim,” which was about as percussively dynamic as anything I’ve heard in a very long time – it almost literally blew me away! This was followed by the track “Invincible” from Tool’s 2019 album Fear Inoculum – which really, really rocked hard – I wouldn’t have initially believed this system could crank it quite so powerfully.

 

The MC AudioTech loudspeakers were impressive, with the correct music choices.

The MC AudioTech Forty-10 loudspeakers were impressive with the correct music choices.

 

The MC AudioTech room featured perhaps the most unusual loudspeaker design I heard today, the Forty-10, which is essentially a two-way design, although it incorporates a ten-element, curved panel, spaced array high-frequency driver enclosure. That’s coupled with a more conventional, 18-inch folded-cube woofer compartment. The high frequency array was driven by a Linear Tube Audio amplifier, and the woofer cabinet was driven by a Parasound amplifier. The sound was sheer perfection, and classic jazz tracks from Rudy Van Gelder and the like were rendered with a level of transparency, musicality and fidelity that almost defied belief. This type of music undoubtedly plays to the strength of the Forty-10, and allowed them to really shine.

For more detailed Day One coverage click here.

 

The Perlisten Audio loudspeakers were supremely musical.

 

Day Two

Audio dealer Tenacious Sound showcased loudspeakers by Q Acoustics and Perlisten Audio, amplifiers and control amplifiers from Unison Research, Cyrus, and English Acoustics. They had two rooms at FAE; one that focused on more affordable products, and a second that featured equipment that reached a tad more towards the high end. The more modestly-priced room featured loudspeakers from Q Acoustics; the room’s entire system including loudspeakers, electronics, and cables retails for just under $5,000. I have to admit that I was fairly shocked that a system could sound so very good with such a diverse variety of music and not cost an arm and a leg. Their second room featured two sets of floorstanding loudspeakers from Perlisten (pronounced “per-lissen”), including the flagship S7t ($20,000/pair), which were playing when I walked into the room. I was immediately gripped by the incredible goodness of the sound; the S7ts can crank it with the very best, and they love lots of power. They also have a very liquid midrange and treble response, which is probably due in no small part to their beryllium drivers. You could definitely color me impressed.

 

Classic Audio's loudspeakers produced a larger-than-life illusion of reality.

Classic Audio Loudspeaker T-1.5 field coil loudspeakers produced a larger-than-life illusion of reality.

 

John Wolff’s Classic Audio Loudspeakers were in the Pavilion Room on the main level at FAE, which appeared to be among the largest rooms in the complex. That volume of space allowed his T-1.5 ($80,000/pair) and Hartsfield ($73,000/pair) field coil-powered loudspeakers to really sing out in a way that few other rooms at the show could approach. On the day I walked into his room, he was spinning LPs by request, playing into the T-1.5s that were being powered by McIntosh MC3500 amplifiers. John proceeded to play a track from a rare LP, Porcupine Tree’s “Voyage 34,” which features subterranean deep bass, Gavin Harrison’s propulsive drumming, Steven Wilson’s searing guitar work, and a trippy mix of effects and tape loops. This was perhaps the most gripping 19 minutes of the show for me, and the T-1.5s simply disappeared into the background. It was as though Porcupine Tree was actually performing live in the Pavilion Room. The effect rivaled what I’d earlier heard earlier in The Audio Company room with the Von Schweikert Ultra 7’s – the realism and presence of the music was almost overwhelming.

 

Suncoast Audio's upstairs room featured a surprise audition of Shunyata Research's new Altaira Signal/Chassis Ground system.

Suncoast Audio’s upstairs room featured a surprise audition of Shunyata Research’s new Altaira Signal/Chassis Ground system.

 

As I stumbled through the 12th floor, I came across Suncoast Audio’s second room, which highlighted the Kharma Elegance Double Seven Signature loudspeakers ($34,000/pair). As I entered, the Pass Labs and MSB Technology equipment appeared substantial, but no music was playing; suddenly, a track commenced that grabbed me with its absolute realism of sound. Right in the middle of the song, the music stopped and a couple of guys got up and fiddled about with the connections in the equipment stack. The track started playing again from the beginning, but it now sounded dull, pedestrian, and shadowy, like all the life had been sucked out of the music – I was truly baffled. It turned out to be a trial run of the new Shunyata Research Altaira Signal/Chassis Ground system that was being tested at the show. When the system was reconnected, the track started again from the beginning, and all the magic had returned in full force. I was completely boggled by this – and as I was about to exit the room, the Shunyata guy glanced at my press pass, pulled me into the side room, and gave me the system info and the recommended MSRP, which, depending on how many specialized ground cables you’d need, will range from $5,000 to possibly $10,000. Definitely intriguing, though!

 

AGD's GaNTube technology was unlike anything else at the show.

AGD Production’s GaNTube technology was unlike anything else at the show.

 

The AGD Productions room wasn’t about system synergy of all the parts involved, it was essentially about one thing – AGD’s new implementation of the Gallium Nitride MOSFET technology in their new form factor, which they call the GaNTube. Now, I’ve heard a ton about how incredibly great this new technology can sound, but this was the first implementation of the technology I’d actually seen and heard. As I walked into the room and took a seat, a woman handed me what appeared to be a vacuum tube – it was actually the new AGD GanTube. It was…most unusual, to say the very least. While fascinating, I couldn’t really make a determination in such a relatively short exposure to the technology as to whether I was convinced it was the next big thing or not. Beautiful amps, but nothing I experienced in my short time in the room offered me the level of information that a full review with them might.

 

Mobile Fidelity's room featured great digital from HiFi Rose and outstanding loudspeakers from Piega.

Mobile Fidelity’s room featured great digital from HiFi Rose and outstanding loudspeakers from Piega.

 

The Mobile Fidelity room had a setup that I interpreted was intended to focus heavily on two of the brands being displayed there: the HiFi Rose line of streaming DACs, and the Piega loudspeakers. The Piega speakers featured a coaxial ribbon tweeter/midrange unlike anything I’ve ever seen, and the mid/treble portion of the audio spectrum absolutely sparkled during playback. The digital source was the new HiFi Rose RS150, and the track selected was a live recording from Sara Bareilles’ Brave Enough: Live at the Variety Playhouse, featuring her take of Elton John’s classic “Goodbye Yellow Brick Road.” Ben Newell of MoFi instructed us to listen to the natural decay of the sound as replayed via the HiFi Rose unit and the Piega loudspeakers, and he was correct – it was absolutely dazzling.

 

Mytek's new Flagship DAC/Streamer/Preamp was a really nice, if expensive, piece of kit.

Mytek’s new Flagship DAC/Streamer/Preamp was a really nice, if expensive, piece of kit.

 

The Mytek Audio room featured most of their models set up as headphone listening stations, and featured some of their models set up as essentially static displays. For almost every model I inquired about, I was told that the display model was the “old” model, and that a newer, upgraded model was coming soon. Mytek is an American company based in Brooklyn, New York, but all their product manufacturing is done in Poland. I don’t do headphones often, so I didn’t really listen to any of the stations, but there was one new Mytek product that got my attention. It was their new flagship model, the Empire ($25,000), which is a DAC, streamer, and preamp all in one, and is about five times larger than any other Mytek product. The demo featured ProAc loudspeakers powered by a Mytek Class D amplifier, and the relatively diminutive setup was impressively dynamic.

For more detailed Day Two coverage click here.

 

 

Morten Thyrrestrup explains AGD's design philosophies for all their product lines.

Morten Thyrrestrup explains AGD’s design philosophies for all their product lines.

 

Day Three

Next Level HiFi is a family-run high-end audio business located in Wayne, Illinois, and their room featured the three product lines of Audio Group Denmark (AGD), the manufacturer of loudspeakers for Borresen Acoustics, electronics and digital source equipment for Aavik Acoustics, and a variety of high-end cables for Ansuz Acoustics. The loudspeakers on display were the Borresen 01 Silvers ($60,000/pair), which I was very keen to hear. Morten Thyrrestrup of AGD reminded everyone that all Borresen loudspeakers employ drivers that are iron-free, which greatly lowers their inductance and which he claims imparts a greater sense of clarity to the sound. He expounded on how the Silver edition of the 01 improves upon the base model by replacing any copper used in the drivers with pure silver, which is said to improve upon the already good clarity of the base model significantly.

 

The Blink High End room featured the outstanding Fink Team loudspeaker designs. I thought the Borgs looked like a sarcophagus!

The Blink High End room featured the outstanding Fink Team loudspeaker designs. I thought the Borgs looked like a sarcophagus!

 

Matterhorn Audio Group and Blink High End are a distributor and dealer partnership based in Cambridge, Massachusetts. I first checked out the Blink High End room where they showcased a pair of excellent models from Germany’s Fink Team, who’ve recently been getting a lot of praise in audio circles. Including the floorstanding Borg loudspeakers ($33,500/pair) and the smaller standmount Kims ($12,000/pair). The Fink Team Borgs were playing as I entered the room, and I found their sound to be gripping and powerful, and loved the clarity afforded the mids and high-end by their AMT (air motion tweeter) drivers. Across the hall, the Matterhorn Audio Group’s room featured loudspeakers from Kroma Audio in Spain, the flagship Elektras ($120,000/pair), and the visually striking stand-mounted Julietas ($43,000/pair). I didn’t hang around long enough to hear the Julietas, but the Elektras were impressively dynamic.

 

Muraudio's SP1's are outstanding electrostatic loudspeakers with excellent dispersion and imaging.

Muraudio’s SP1s are outstanding electrostatic loudspeakers with excellent dispersion and imaging.

 

Muraudio’s SP1 Point Source electrostatics ($20,000/pair) are one of the most exotic-looking electrostatic loudspeakers ever. They cast a seductive stereo image, have exceptional dispersion qualities, and literally disappear in the soundfield. Muraudio’s room featured tube amplification from Germany’s Westend Audio Systems, the 100-watt per channel Monaco integrated amplifier ($26,000), as well as digital streaming from the Weiss Engineering DAC501 ($10,000). I arrived at the Muraudio room about 15 minutes before the show opened on Sunday and found both Murray Harman and Roland Schebor available for a demonstration. We were able to talk and listen leisurely to the SP1s for about an hour, and Harman discussed Muraudio’s goals for the future, which revolve around getting their electrostatics into more homes in settings where they’ll be heard by everyone, and not just locked away in a basement room enjoyed by a single-minded audiophile. That’s one of the reasons they’ve worked so hard to get such a wide dispersion pattern with the SP1, to increase the size of the sweet spot for more listeners to easily enjoy the music. They’ve definitely accomplished that with the SP1, which are a must-hear.

 

Alex Tkachov of Orlando distributor Alex Sound Technology controls the Sforzato digital system components.

Alex Tkachov of Orlando distributor Alex Sound Technology controls the Sforzato digital system components.

 

I also visited the room of a new distributor making their first-ever appearance at an audio trade show, Alex Sound Technology, a group of Ukrainian expats from outside the greater Orlando area. The company is the distributor for select lines of very-high-end audio equipment, and their product offerings include horn loudspeakers from German manufacturer Blumenhofer; digital streaming network players, DACs, and master clocks from Japanese firm Sforzato; and tube amplifiers and high-end vacuum tubes from Japanese company Takatsuki. Alex Sound Technology also reps cables and high-end connectors for three high-end brands, IeGo (pronounced “eye-yee-go”), True Power Lab, and ATL Power. I devoted special coverage to the Alex Sound Technology room (click here), and for more detailed coverage of Day Three, click here.

 

I give the Von Schweikert Audio Endeavor SE loudspeakers my overall best of show.

I give the Von Schweikert Audio Endeavor SE loudspeakers my overall best of show.

 

Best of Show

I give my overall Best of Show to another new model Von Schweikert Audio was showing, the Endeavor SE loudspeakers ($25,000/pair), which I felt offered a shocking level of realism in their big room that came darn close to matching that of the Ultra 7s at one-eighth the price. The first track I heard played over the Endeavor SEs was a blues number from Stevie Ray Vaughan; I stood in the back of the room behind the last row of chairs, and nothing could have prepared me for what I was about to hear. I know how old and cliched it is to use the “like he was live in the room” expression, but I swear, Stevie Ray Vaughan was freaking live and in the room! And the Endeavor SEs weren’t at all embarrassed by the Ultra 7s in terms of scale of sound. Granted, I heard the Ultra 7s multiple times over the weekend, and the SEs only once for about 30 minutes, but to steal John Atkinson’s catchphrase, “I was gobsmacked.” You can read more about that here.

Overall, the Florida Audio Expo was a cracking success. I seriously enjoyed the show, and witnessed some extraordinary equipment. And spent quality time with old friends, while making the acquaintance of many new ones. Here’s to the end of the pandemic, and to the audiophile world moving back into a phase that’s waaaaay closer to normal for everyone.

All images courtesy of the author.


Three Days with Frank Sinatra, Part One

Three Days with Frank Sinatra, Part One

Three Days with Frank Sinatra, Part One

Tom Methans

Bill and Judy Green hosted parties for the Who’s Who of the day’s society pages. I recognized most of the people who regularly attended, not only from TV and movies but also from the star-studded photos on almost every flat surface and wall of the salon. I used to follow the English housekeeper and nanny, Mrs. Darby, around as she whipped her feather duster over silver frames while telling stories about the beautiful people in them. I’m sure I was the only 12-year-old in the county who was so well-informed about old-time show-biz. Who remembers high-tenor Morton Downey Sr., “The Irish Nightingale,” of Depression-era fame? Well, I do. Back in 1978, I knew him personally. Mr. Downey used to tip me handsomely for washing his car, and it’s safe to say he contributed towards many record albums.

 

The Green estate was always abuzz before a visit from Frank Sinatra. Frank’s valet, Mikey, arrived early to set up the pool house. Not to be confused with a shack for stowing chlorine and cans of beer, this three-room cottage with a tennis court, pool, and attached sauna was bigger than my grandmother’s farmhouse where I was born. As Mikey laid out Mr. and Mrs. Sinatra’s clothes and toiletries, my parents stocked the kitchen, and Mrs. Darby fitted crisp, carefully laundered French sheets to the bed. As the final touches, a bowl of fresh fruit and bottled water were left as refreshment. Even then, I appreciated these amenities. The water and fruit was achievable for my own room in the east wing of the twenty-one-room mansion, but I don’t think my parents were willing to spend a month’s salary on European bed linens.

Once Frank arrived and got settled, he wanted to discuss the weekend’s menu, so Mrs. Green brought him to the kitchen and introduced him to my mother. Of all the famous people who came to the house, Frank had true international celebrity that reached her childhood village in Slovenia. “This is Maria, our cook,” she said.

My mother swooned as Frank gave her a big kiss on the cheek and said, “hi Marie!”

She usually hated the name Marie the same way my stepfather hated being called Hans instead of Hasan, but my mother didn’t mind when Frank said it. Maybe receiving a new chummy nickname from him made all the extra hours of cooking a little less exhausting. Mrs. Green continued, “and, that’s Maria’s son Tommy.” Everyone called me Tommy – my mother still does. Frank and I didn’t shake hands or anything. It was more of a wave-across-the-room introduction. But for better or worse, he knew who I was.

My parents had worked as live-in servants for wealthy families since we came to America in 1972, and the older I got, the more I hated it. By junior high school, I began creating intricate soap operas explaining how my family, whose most valuable possession was a 1974 Chevy Nova, could possibly live in a Fifth Avenue townhouse, Park Avenue penthouse, Hampton’s beach house, or 15-acre estate in the toniest suburb. Vivid tales portrayed my parents as anything from minor royalty to executives at a big firm, or visiting European professors. I don’t think I was born a serial liar, but I got better over time and managed multiple storylines. Kids my age believed anything I told them. Nosy parents were a bit harder to handle, inspiring some award-winning improvisation if I was ever put on the hot seat. One such instance was the reason I had to abandon my favorite go-to “professor” scenario after a classmate’s confused father started poking holes in my story.

As we were having lunch at a Greek restaurant, he, like a detective, kept asking questions. Each time, I would stuff my mouth to gain a few seconds as I considered my answers. “So, when did your father teach at Northeastern?” I don’t know why I said Northeastern in the first place – I had no idea where it was, but it was in a toss-up with Northwestern, and both sounded equally-generic to me. An intentionally-muddled reply came through mouth full of grape leaves; “um, 1950 through 1955.” My stepfather was nine years old in 1950. “And, where did he go for his doctorate?” Spinach pie filled my maw this time; “um…Oxford, in England,” surely with flakes of phyllo pastry flying onto the table. It’s best not to go too far afield when lying about foreign universities. Go with what you know. “And where does he teach now?” In between bites of moussaka; “Up in…ooh, so hot… in, uh, Harvard.” I knew I botched it but couldn’t think of anything else. It implied that he commuted from New York to Boston. With lunch almost over, I finally stopped the interrogation with the most effective lifeline, “They might be getting divorced… because of his drinking.” That was the most honest thing I said that day. Embarrassment dampened the mood substantially and shut them up. Coming from a dysfunctional family, I was perfectly comfortable in the overhanging awkwardness that ensued, and I could eat my baklava in peace. It was a shame because Hasan really was a teacher back home in Bosnia, and my mother was a nurse. Fearing the Northeastern-grad dad would consult yearbooks and registers, I never spoke to that kid again and certainly never accepted another free lunch. Despite many complications, my parents’ work allowed me to live like a rich kid on the nicest New York real estate.

Sauced

I thought I had the mansion all to myself that summer morning. My parents had gone to the city, and the Greens were at brunch, where I assumed the Sinatras would also be. I blasted Aerosmith at full volume when Mikey banged on my bedroom door. Frank wanted to make marinara for dinner, and I had to help find tomatoes.

I wasn’t sure how any of this related to me. There might be some in the garden or he could go to the A&P and buy the ones wrapped in cellophane. All I wanted was to resume “Draw the Line” before Mikey said, “No. Mr. S needs cans of real tomatoes from Italy (or as he pronounced it, Id-A-lee). Where’s the deli.”

Mikey meant an Italian market and not the store where we bought pastrami and potato salad, so I took him to the village of Mount Kisco in search of tomatoes. He was very cool and confident in his sharp clothes and sleek Cadillac. My stepfather said most Italians were in the mafia – especially the rich and famous ones – and I assumed Mikey was part of Frank’s gang. As we drove up and down Main Street looking for an Italian grocer, I finally asked the single burning question in my mind: “Can I see your gun?” I confided in him that Lou, the off-duty cop who patrolled the Green’s properties, taught me how to fire his – everything from a shotgun to a .357 Magnum. I could be trusted.

“Gun?” Mikey asked, surprised. “I’m an actor who styles hair on the side. Why would I have a gun?”

Mikey drove, dressed, and ironed for Frank but did not shoot for him. It was a real let-down. Just as I was about to follow up with assorted questions about Hollywood, Mikey spotted a flashing neon Italian flag and a sign reading, “Fresh Mozzarella Daily.”

Once inside the shop, I was swallowed up by shelves of olive oil, miles of sausage, giant wheels of cheese, more types of pasta than I ever imagined, and an entire aisle of canned tomatoes. Mikey examined the different brands before grabbing an armful. When we got to the cash register, he peeled a hundred-dollar bill from a wad of money.

“Come on, Rocka-fella, I don’t have change for this!” barked the clerk in his big white stained apron.

The opportunity to reveal my connection to rich and famous came sooner than I expected. “When I tell you who these are for, you’re not going to believe it.” I didn’t wait for him to ask. “Frank Sinatra. He’s staying at my house.”

Instead of being thrilled, impressed, and accommodating, he seemed even more annoyed, “Oh yeah, big shot? Well, tell Ol’ Blue Eyes this ain’t a casino, and it’s too early in the morning for C-notes!”

If you're serving to the Chairman of the Board, the tomatoes had better be right!

If you’re serving to the Chairman of the Board, the tomatoes had better be right!

 

When we returned to the house, Mikey called Mr. S on the intercom. I unpacked the bags and left the cans on the island opposite the eight-burner stove. Before I could head back to my stereo, Mikey said, “Stay here. He might need you.” Me? It was obvious he was pawning Mr. S off on me, and there was nothing I could do about it. Not that I could ever say it aloud, but a recurring thought during my parents’ time of domestic work was, “Okay. I don’t actually work here, but I guess I should help.”

After waiting in the kitchen for about an hour, Frank finally came up from the pool house. Although he was just several inches taller than my mother, Frank presented a grand stature in his Cuban-type short-sleeved shirt and light pants. And then, there was his voice. It’s been described as a light baritone, but whatever the classification, I’m sure it was one of the most commanding voices I’d ever heard in person. Gregory Peck also had an impressive voice, and it was a bit jarring to meet the man who just played Dr. Josef Mengele in The Boys from Brazil (1978), but we only exchanged quick “hellos.”

“They said there was basil in the garden,” Old Blue Eyes said without any niceties that usually precede a major favor. As a kid, I would have fantasized about getting high all day with Steven Tyler. Instead, I got the unexpected, surreal, and quiet experience of spending time with Frank Sinatra, and this living legend needed my help to make his sauce.

I had been helping my mother cook for as long as I could remember but had no idea what fresh basil looked like – I wasn’t using fresh herbs back then. Before I make myself out be a Dickens scullery urchin, I was not forced into child labor. I was just an excellent cook for my age and hanging out in the kitchen was more interesting than watching TV alone. Aside from being drafted by my stepfather to vacuum a room or shine several pounds of Tiffany silverware now and again, I suppose I was a child of privilege and leisure outside of school hours.

I led Mr. S down a pebbled path to the garden at the back of the house. The gardener, Mr. Muller, grew flowers and vegetables on a plot of land between the main house and the cottage where Mrs. Darby lived with her husband, who painted and repaired the mansion’s interior. Mr. Muller and his wife lived just down the path, near the wood and tractor sheds, with three outdoorsy sons who worked all the lawnmowers and machinery. As Frank and I walked together, I tried to think of the last film I had seen him in – maybe it was an old Army movie or some musical on TV.

Should I ask him about the Rat Pack? Mrs. Darby told me all about them, and Rat-Packer Peter Lawford was just visiting last week. I could mention that I watched him on Dean Martin’s Celebrity Roast. I loved those old shows and laughed even when I didn’t fully get the jokes. But nothing came to mind as we made our way past rosebushes, strawberry patches, and lettuce beds until Frank spotted the herbs.

“That’s mint,” Mr. S said, pointing. “That’s parsley.” And then, taking a deep breath, “Ah, there it is… basilico. You can always smell it.”

He bent over and examined the plants for the best leaves. He picked sprigs and placed them gingerly in my cupped hands, and we headed back to the house. He led the way, and I followed with palms of basil in front of me as if I had just received Holy Communion. Back in the kitchen, we talked about the task at hand. I wanted to ask if Don Rickles was mean in real life, but I was too busy finding pots, knives, and ingredients. Then he directed me to open the tomato cans and rinse the basil. “Don’t bruise it or else it turns black!” – and, “Where’s the fresh garlic? Check where the onions are.”

Unlike meat gravy, which requires many hours and ingredients, marinara is a quick, simple preparation. I stood next to Frank, studying every step of a process he orchestrated without a recipe or splashing a drop of oil on his white shirt.

  • Heat a lot of olive oil, preferably from Italy, in a large skillet. Gently toast a couple of garlic cloves. Get rid of them. Add a small chopped onion for every 28oz can of tomatoes. Sauté lightly.
  • Put the Italian plum tomatoes in a blender with some basil. If you can get them, the best tomatoes are pomodori di San Marzano from Naples. Turn the blender on then off immediately. Pour the contents into the skillet with onions, and season with salt, black pepper, and a few pinches of oregano. Use the dry stuff! Fresh oregano doesn’t have the same flavor. Simmer for about 20 minutes until thickened. Adjust seasoning.
  • Just before serving, bring a gallon of water to boil for every pound of pasta. Add salt until it tastes like the ocean. Cook until al dente (soft but not mushy, firm but not crunchy). Finito!

Frank gave the sauce a final taste and spooned out a little for me. Having grown up on jarred sauces, I tried my first homemade marinara. “GREAT!” I wouldn’t have said otherwise, but it was truly the best sauce I had ever tasted.

That night at dinner, I bet loads of compliments were showered on Frank for the sauce – our sauce – when my stepfather served it as the first course. I wondered, did Frank mention that I helped make it all possible? I didn’t try it slathered over a heap of pasta the way everyone else did, because it wasn’t for me, or us, it was for them. And I wasn’t about to eat leftovers from the silver trays and tureens that I polished, so, in protest, I ate sandwiches. That’s why I learned to cook: so I didn’t have to eat boycott-bologna on rye at every meal. Naturally, all prohibitions were suspended when it came to desserts.

 

After Frank’s departure that weekend, I repeated this recipe for myself whenever I could persuade someone to drive me to the Italian market for cans of San Marzanos and a new shape of pasta. Spaghetti was for beginners. I cooked exotic shapes such as bucatini (pencil-thick spaghetti with a hollow center), paccheri (oversized rigatoni tubes), and fusilli lunghi bucati (two-foot-long corkscrews). Good marinara goes well with any pasta.

Reenacting the cooking demonstration with Frank Sinatra began as a private ritual and consolation meal-for-one, but eventually, I added my own touches like reducing the amount of onion and leaving the garlic in the sauce. I also prefer to s-m-u-s-h the sensual pomodori between my fingers instead of blending. And a whole sprig of basil goes in at the very end for even more aromatic flavor, but it’s still Mr. S’s sauce and it became more delicious every time I shared it with others – always with the preface, “You will never guess who showed me how to make marinara.”


Around the World In 80 Lathes, Part Eight

Around the World In 80 Lathes, Part Eight

Around the World In 80 Lathes, Part Eight

J.I. Agnew

Introduced in 1970, the Neumann VMS-70 was the result of the continued evolution of the company’s AM 31 (introduced in 1931 as the first Neumann disk recording lathe), keeping the same basic mechanical assembly throughout the entire half-century span, but introducing many new features in the control systems and audio electronics.

 

The pitch box of a Neumann VMS-70 lathe, with illuminated buttons and knobs controlling the cutting parameters. Courtesy of Greg Reierson of Rare Form Mastering in Minneapolis, Minnesota.

The pitch box of a Neumann VMS-70 lathe, with illuminated buttons and knobs controlling the cutting parameters. Courtesy of Greg Reierson of Rare Form Mastering in Minneapolis, Minnesota.

 

The lathe bed remained pretty much the same, although there were we three different versions. The early lathes had a slightly rounder overall shape and were made of aluminum. During the Second World War, there was a shortage of aluminum as a strategic war material, so a small run of lathe beds (around 30 pieces) was made of cast iron! This was considerably heavier and not as easy to machine as the aluminum beds. It is highly questionable if Neumann ever used these beds to build complete lathes, but some years ago, a number of them were discovered, in their as-cast, unmachined condition, in a warehouse in Germany (this discovery will be covered in greater depth in a future issue). There are reports of at least one lathe built up by Neumann during that time using one of the cast iron beds, but I have not yet been able to confirm this.

 

Neumann VMS special lathe, a complete system on a Neumann cabinet, filled with Neumann electronics. Courtesy of David Zanfrino of Cutting 70 in Corre, France.

Neumann VMS special lathe, a complete system on a Neumann cabinet, filled with Neumann electronics. Courtesy of David Zanfrino of Cutting 70 in Corre, France.

 

The early Neumann lathes used this original bed style, in cast aluminum. At some point however (prior to the introduction of the VMS-66 in 1966), Neumann started using a slightly more squared up casting, for which a different pattern had been made. I wouldn’t call this a redesign, as all the parts that would bolt onto the earlier beds would still fit onto to the newer ones.

It could more appropriately be described as a face-lift, most probably prompted by the fact that by that point, the original patterns had been in use for over 30 years and were probably in need of replacement anyway. By the 1960s, Georg Neumann’s Mercedes-Benz was also a bit more squared up, compared to his earlier cars, so it was only natural that his lathe beds followed suit (Issue 155 contains a more in-depth analysis of Neumann lathe bed castings, for the profoundly nerdy reader).

 

The lathe bed of the Neumann VMS special. Nearly identical to the AM 32b, and similar to the VMS-66 and VMS-70, but with some big differences. Courtesy of David Zanfrino.

The lathe bed of the Neumann VMS special. Nearly identical to the AM 32b, and similar to the VMS-66 and VMS-70, but with some big differences. Courtesy of David Zanfrino.

 

The bed itself was a very good design, which is why it lasted as long as it did, both in terms of years in production, but also in terms of their survival in the field. The later models needed increasingly more holes drilled into the hollow casting for additional switches, buttons, knobs and meters. The earlier lathes had a gear train which drove the leadscrew from the platter motor, and a hand crank for spirals (the usual separation between selections on a record, as well as the lead-out at the end). This was soon abandoned in favor of a separate leadscrew drive system consisting of two motors (one for recording pitch and one for spirals) and a mechanical differential, which would speed up the output shaft when the fast motor would be activated and slow it down again to the recording pitch of the slow motor as soon as the fast motor would stop. This way, two motors of different speeds could be coupled to the same output shaft, which could be made to automagically “obey” the appropriate motor as required. With the type of motor and control electronics used by Neumann at the time, it would have been difficult to achieve the extremely wide range of leadscrew speeds required for all three platter speeds (33-1/3, 45 and 78 rpm) and spirals for each, using a single motor, not to mention the requirement of having low noise. As such, it was decided to use two motors, for the higher and lower speeds. Mechanical speed reduction was used, and one of the two motors would transmit motion to a differential assembly by means of a drive belt (which needed to be reversed after a certain number of hours of use, and eventually replaced with a new one. Only one of the motors had a belt.)

 

The differential leadscrew drive assembly, under the pitch-box of a Neumann VMS-70 lathe. Courtesy of Greg Reierson.

The differential leadscrew drive assembly, under the pitch-box of a Neumann VMS-70 lathe. Courtesy of Greg Reierson.

 

The horizontal slideway was a bit of an oddity in several ways. It was a dovetail slideway with a gib to adjust for wear, and was machined from steel. This steel piece was then bolted onto the cast aluminum bed, which was a strange idea as far as traditional machine tool engineering goes. The contact of steel and aluminum promotes dissimilar metal corrosion, and there would be inevitable geometric errors arising from such a mating.

 

The dovetail slide on a Neumann VMS-70 with the platter visible on the top left. Courtesy of Greg Reierson.

The dovetail slide on a Neumann VMS-70 with the platter visible on the top left. Courtesy of Greg Reierson.

 

To not make the lathe bed too long, the top part of the dovetail slide was kept short, but the load it had to carry (a fairly big and heavy suspension box with a cutter head weighing around 2 lbs.), was overhanging way too much, reaching over the platter. To balance that, and reduce excessive wear on the sliding surfaces and stick-slip behavior, a pair of ball bearings were added ahead of the top dovetail surface, acting as wheelie-bars of sorts and looking like a bit of an afterthought.

 

Neumann VMS special. Note that the controls on the lathe bed itself are different to the VMS-70. Courtesy of David Zanfrino.

Neumann VMS special. Note that the controls on the lathe bed itself are different to the VMS-70. Courtesy of David Zanfrino.

 

With use over several years, uneven wear was a real issue, and the slideways had to either be replaced, or machined true again. In precision machine tool design, the slideway is traditionally machined directly on the lathe bed. However, with the Neumann lathe bed being made of aluminum, this would have resulted in excessive wear if a dovetail slide had been machined directly on the aluminum surface of the casting.

Bolt-on slideways have been used successfully in disk recording lathes, and even in some rare exceptions in the machine tool industry, notably the Hardinge HLV and related family of lathes, where a hardened steel dovetail slideway would be bolted onto a cast iron bed to ensure rigidity. In the case of the Hardinge HLV, the headstock, the carriage, tailstock and all other critical components of the machine all locate on the same long dovetail slide, which was finish-ground on the bed, thus ensuring geometric accuracy. The geometric reference point of the machine spindle was the same as that of the carriage and tailstock, so everything lined up (of course, precision manufacturing techniques are vital when such levels of accuracy are required).

 

A 1950s Hardinge HLV super-precision lathe, featuring dovetail bolt-on ways. Courtesy of Agnew Analog Reference Instruments.

 

On a Neumann lathe, the machine spindle and ways are independent of each other, which is not ideal for ultimate geometric accuracy, although this was compensated for by other means, which we shall be examining later.

 

Neumann VMS-70 leadscrew. The bulge on the right is the cover for the wheelie-bar bearings of the carriage. Courtesy of Greg Reierson.

Neumann VMS-70 leadscrew. The bulge on the right is the cover for the wheelie-bar bearings of the carriage. Courtesy of Greg Reierson.

 

The leadscrew itself was also an oddity. It had a sawtooth thread form, which rendered it unidirectional. Unlike the vast majority of American disk recording lathes (which were used extensively in radio broadcasting and in the motion picture industry), Neumann lathes with a sawtooth-thread-form leadscrew could only cut outside-in records. A half-nut had to be disengaged to manually return the carriage back to the beginning. The half-nut itself was made of nylon, which had to be run without lubrication on the steel leadscrew. The Neumann manual warns against lubricating the leadscrew, which would cause rapid deterioration to the nylon half-nut. This was also a weak point, as the half-nut teeth could be easily stripped accidentally, when an operator would try to manually move the carriage but forget to first disengage the half-nut. This choice of materials was presumably used in an attempt to reduce any noise that could be produced by metal-to-metal contact. This was never an issue for several American lathes, and my 1930s Fairchild Aerial Camera Corporation lathe (described in detail in Bill Leebens’ article “Fairchild, Part 5” in Issue 89) demonstrated enviable performance using a stainless-steel leadscrew driving a half-nut with a phosphor bronze threaded insert. Not only was it dead quiet, but it also survived almost a century of heavy commercial service!

 

A heavily modified 1930s Fairchild disk mastering lathe, with an Agnew Analog Type 891-based high-fidelity cutting amplifier rack and pitch system. Courtesy of Agnew Analog Reference Instruments.

A heavily modified 1930s Fairchild disk mastering lathe, with an Agnew Analog Type 891-based high-fidelity cutting amplifier rack and pitch system. Courtesy of Agnew Analog Reference Instruments.

 

While the early Neumann suspension units were purely mechanical, the later models had a built-in “depth coil,” which would provide a means of electronic adjustment of the depth of cut. They also had head lift/drop solenoids, to electronically drop and lift the cutter head. A built-in oil dashpot could be seen as a characteristic bulge protruding right above the cutter head, which would provide damping of the vertical motion of the head during the cut.

 

The insides of a Neumann suspension unit on a VMS-70 lathe. Courtesy of Greg Reierson.

The insides of a Neumann suspension unit on a VMS-70 lathe. Courtesy of Greg Reierson.

 

In Germany, one way to very quickly make yourself unpopular with your neighbors is to neglect the regular and precise trimming of your lawn, hedges and trees. Likewise, Neumann had a thing with grooming their cutter head wiring, so the audio wiring to the cutter head was routed to two DIN connectors close to the cutter head (they would never lower themselves to using anything invented in another country), from where the wiring could continue hidden within the suspension box, and out again through yet another DIN connector at the back, where it would not offend the neighbors…

 

The oil dashpot and DIN audio connectors on a Neumann suspension box, with a Neumann SX-74 cutter head mounted. Courtesy of Greg Reierson.

The oil dashpot and DIN audio connectors on a Neumann suspension box, with a Neumann SX-74 cutter head mounted. Courtesy of Greg Reierson.

 

Their head mounting system was also proprietary, which was by now becoming common practice in the disk recording industry. Fortunately, ample space around the suspension unit and adequate provision for adjustment made it easily possible to mount any cutter head one would wish to use, by means of adapters that could be custom-machined to match one proprietary mount to another. However, this went against the whole point of the Neumann system and philosophy: Thou shalt not connecteth a cutter head that does not sayeth Neumann on it, on thy Neumann lathe! Verstehst du?

 

Neumann SX-74 stereophonic feedback cutter head on a Neumann VMS-70 lathe at Rare Form Mastering. Courtesy of Greg Reierson.

 

Previous installments appeared in Issues 157, 156, 155, 154, 153, 152, and 151.

Header image: Neumann VMS special, predating the VMS-66 and VMS-70, but with many similar features. Courtesy of David Zanfrino of Cutting 70.


Nero Fiddles While Rome…

Nero Fiddles While Rome…

Nero Fiddles While Rome…

Jay Jay French

Sorry folks but I’m having a hard time thinking about the state of my current audio system or writing about music.

The Russian attack on Ukraine has just about eaten up all my mental bandwidth. I’m in real mental anguish, and the irony is that this is coinciding with the longest vacation I have ever taken.

Right now, I’m writing this from the kitchen of a beautiful house near the ocean off a Mexican coastal town called Akumal.

The weather is perfect…every day.

The ocean is warm…every day.

My Bose mini-soundbar and my Wi-Fi is perfect…every day.

I was just going to finally take a break after a six-month book promotional tour (both virtual and in person) supporting my new book, Twisted Business: Lessons from My Life in Rock ’n Roll.

I was also looking forward to the end of COVID and its devastating effect on New York City in particular. Yes, COVID was starting to look like it was finally in the rearview mirror and the daily anxiety was starting to finally abate.

So many family members and friends had it.

Some died.

During the two years that COVID took over just about every conversation, I did look forward to listening to music.

My system continued to evolve as well and I didn’t feel guilty listening to it.

It brought me comfort (along with watching just about everything available on Netflix, Amazon Prime, Hulu, Disney+, Peacock, etc.)

But here, as I sit in the kitchen of my Mexican vacation home, writing a piece which will more than likely will not make my editor at Copper too happy, I contemplate a much larger issue:

The possible, terrible outcomes of this insane war, and my stomach is hurting. My brain is hurting.

Stop right now if you need to move on to read about cartridge alignment theory, negative feedback and its effect on amplifier performance, or the latest great reference recordings.

I get it.

Nobody really wants to deal with the very harsh realities.

I wish I could wake up and this would all be a dream.

I did wake up, however, and it wasn’t a dream.

What can a person do? Contribute with money to a Ukrainian Airbnb portal to get money in the hands of actual Ukrainian families?

Yes, That is a start.

My grandparents on my mother’s side were from Odessa (making me part Ukrainian) but that doesn’t make me any sadder or angrier about the situation. This is so much larger than that.

I just found out that many of the Ukrainian fighters have adopted our song “We’re Not Gonna Take It” as their battle cry.

There are several music promoters in Germany that want to put on a festival this summer to aid Ukrainian refugees and call it the “We’re Not Gonna Take It” Festival for Ukrainian Relief.

Does that make me feel better? A bit, but I feel just about as helpless as most of you may be feeling.

Add to this the fact that the 2022 baseball season has been in jeopardy due to the most ill-timed labor dispute. [At the time this article was written, the Major League Baseball lockout was unresolved. – Ed.]

Some of you may not care about baseball so it doesn’t matter.

It does to me, but at the risk of stating the obvious, having a peaceful world has much more significance.

So…

Belt-drive vs. direct-drive

Moving-magnet vs. moving-coil

Solid-state vs. tubes

Planar drivers vs. paper cones

No. Not today.

Not when I just watched a video of a family wiped out in an instant by a rocket.

Today, it’s about stopping the insanity which is having an enormous impact on the outcome of humanity’s future.

For all those readers who can manage to not let these events prevent you from enjoying this hobby that we all love, I envy you.

I can’t.

Not right now.

Until I can, I will suspend my contributions to Copper.

This is, after all, a publication about music.

Not war.

My thoughts go out to all the victims.

 

Header image courtesy of NASA.


Sometimes I Sit and Listen to Courtney Barnett

Sometimes I Sit and Listen to Courtney Barnett

Sometimes I Sit and Listen to Courtney Barnett

Wayne Robins

Courtney Barnett had me the first time I heard “Pedestrian at Best,” from her 2015 debut album, Sometimes I Sit and Think, Sometimes I Just Sit, which, if you spend any time with her music, is a kind of quintessential Barnettism.

What I like so much about “Pedestrian at Best” is that is a pure rock critic phrase. It sounds like an entire Christgau’s Consumer Guide review of a very average band from the 1970s: “Very Average Band”: Pedestrian at best. B minus.” So, there is something self-knowing about the way I’m guessing Barnett, who lives in Melbourne, Australia, approaches music. And she’s anything from average, so very not pedestrian.

“Pedestrian at Best” is the most energetic and hard rocking song I’ve heard her do. It’s guitar-based classicism has the adrenalin of “You Really Got Me,” “Wild Thing,” and “Sweet Jane,” the closest Barnett has gotten to rocking on all cylinders. She likes to hold back.

 

I’m sure she’s done quite a few interviews, but the facts and details of her life are of little interest to me. She is 35 years old, though you might peg her for up to ten years younger. (Maybe I’ve been watching a lot of old videos.) I read one short profile for The Guardian, Nov. 5, 2021, by Andrew Stafford. It is brief and basic, but he gets quite a bit from what appears to be a not very long Zoom interview, where she spoke “from a spartan room that offers no clues.” The article ran in advance of her latest album, Things Take Time, Take Time, which was released November 12. This album title is also a quintessential Barnettism, in which she repeats a phrase, as if she is thinking to herself whether she has said what she needs to say, or whether some elaboration is required. (In between Sometimes and Things Take was another album, Tell Me How You Really Feel, about which, for whatever reason, I remained resolutely neutral except for the brilliant song that may explain everything about that record, “Crippling Self-Doubt and a General Lack of Confidence.”)

The newer album is relentlessly mid-tempo: There are no rollicking rockers like “Pedestrian at Best,” and though many of the songs contain moments about loneliness, neediness, or sadness, there are no dreary ballads, either. “Here’s the Thing” takes you through her day, her thoughts. Sometimes she’s a little happy, sometimes she’s a little sad. But as I said, steady in tempo, steady in mood. She’s not a weeper, no drama, but a keen observer of both herself and the rest of the world, wherever her eyes land. It feels very self-consoling.

 

Courtney Barnett, Things Take Time, Take Time album cover.

 

Consider “Rae Street,” which appears to be the first single from Things Take Time, Take Time, which does raise the rock quotient a bit. The first few times I heard it, I figured it was about some hipster thoroughfare in Melbourne, congested with bars, clubs, and people watching. Then I watched the video, and there is plenty of people-watching: In fact, almost all of the people are played by Barnett, who is looking out the window of a suburban house, and she sees the sanitation worker, a person pouring cement, a food delivery, a mom teaching her daughter how to ride a bike with training wheels, a person mowing a lawn, climbing a ladder, painting a house: It’s about nothing, and everything, absorbing the details of everyday life under pandemic isolation.

 

The structure of the songs is interesting: Following along on https://courtneybarnett.com.au/, most of the lyrics are not verses and choruses, but sentences and paragraphs. She is renewing the spirit of letter writing in an age of brief, unpunctuated, misspelled e-mail. From “Rae Street”: “I might change my sheets today.” A little further:

“The pair across the street; one’s up the ladder and one’s on their knees, painting the faded brick. What’s the point, it looks fine from up here.”

This letter-writing, so foreign to most of us these days, is a way that I teach writing music criticism. Avoid fancy phrases, needless adverbs, excessive adjectives: avoid calling a song “amazing.” Instead, find words to describe why a song is “amazing.” Then make believe you’re writing a letter to a close friend, or a relative you like. Tell them about the song, the performance, like you are speaking to them. Songs as letters to a friend: That’s what Things Take Time, Take Time feels like.

Barnett likes old-school mail so much she uses postcards, or at least, digital replicas. She has a song called “Write a List of Things to Look Forward to.” On her website, there is an e-postcard to fill out, with five things to look forward to, which I filled out and sent to her. When you hit Send, there is a picture of Courtney, reading a postcard. The stamp is one of the blue paint smudges that are both the album cover and the visual theme for this latest project.

 

What was on my list of things I’m looking forward to? That I was looking forward to my college students returning from spring break who, for the first time in two years, will be mask-free, and I will be able to see their faces; that I was looking forward to my 73rd birthday, or a grandchild, whichever comes first; that I wanted to interview Barnett for my Substack, to talk about songwriting and both of us being left-handed; that I was looking forward to finishing this Copper article; and that I wanted to hear her cover a Bob Dylan song, but not “Forever Young,” but rather “Queen Jane Approximately” or better, “Just Like Tom Thumb’s Blues.”

Dylan is important as a distant backdrop for Barnett. She gets some of her words-forward phrasing from him, although more so Lou Reed, who is kind of her vocal doppelganger, and Leonard Cohen, whose “So Long, Marianne,” from Barnett’s 2019 MTV Unplugged Melbourne session is one of the best Cohen covers I’ve heard in a while. The older Barnett semi-classic “Avant Gardener” has a video about a doubles-tennis match, an asthma attack, and a riotous ending over a missed call by the young referee, who looks like kind of 1980s Dylan. The song itself? It sort of really is about gardening. Barnett is the rock poet laureate of mundane Mondays.

 

But what’s striking about the singing is the degree that the Lou Reed voice of aloof affect, is natural to her. Another cover from the Barnett archives is the single “I’ll Be Your Mirror,” from the Velvet Underground repertory. There’s irony here, since “I’ll Be Your Mirror” was a showcase for the Velvet’s model-singer Nico. Barnett sings it in her organic Lou voice, which is almost like a gift to him.

Barnett has mastered the casual intonation that marks the work of not a singer-songwriter, but a songwriter-singer. Barnett is definitely a woman, but her voice is neither masculine nor feminine, which perhaps makes her so appealing to a millennial generation that appreciates, even strives for, gender fluidity. Barnett’s own look is seriously normative: a pretty, nicely layered brunette with slightly long bangs, no tattoos, no piercings. She doesn’t align visually with any tribe. If she was an American, you could cast her in a commercial for an insurance company, or car manufacturer.

Her “now I sing, now I talk at the same time” voice is made for collaboration with other musicians such as guitarist Kurt Vile, whose 2017 album with Barnett, Lotta Sea Lice, may be one of my favorite Barnett projects. Vile (rhymes with Kurt Weill) was a member of The War on Drugs. He and Barnett knocked out an album in Australia together that seems effortless and pleasurable because it rejects the high-stakes of old music biz album making, in which the pressure to make an album for a predetermined release date is followed by pressure to tour. The go-to song here is “Continental Breakfast,” which sounds like a conversation across continents, and features them trading verses in a shaggy dog story with lines like “I walk like a bruised ego alone shorefront property, un-owned to me.”

Barnett has her own label, Milk! Records, that she started in 2012 with Jen Cloher, a guitar-playing songwriter-singer herself; formerly a couple, they remain business partners, according to the Guardian. Milk! distributed Sleater-Kinney’s Path of Wellness album in Australia. Cloher’s own music is much worth seeking out, and her early work sounds much like Barnett’s. I’ve just been looking around randomly, but her 2013 Milk! EP In Blood Memory (with Burnett also on guitar) has a great rocker, “Toothless Tiger,” and a sort of alt-country tune called “David Bowie Eyes” that can be found on Bandcamp if you want to check them out. That EP is dedicated to the inspiration of Patti Smith, Television, the Velvet Underground, and Neil Young and Crazy Horse. I’d love to hear Barnett and Cloher cover Television’s “Marquee Moon,” if they can still play together.

 

For more from Wayne Robins, see Critical Conditions at http://waynerobins49.substack.com.

Header image courtesy of Mia Mala McDonald.


Confessions of a Setup Man, Part 14: The Reluctant Reviewer

Confessions of a Setup Man, Part 14: The Reluctant Reviewer

Confessions of a Setup Man, Part 14: The Reluctant Reviewer

Frank Doris

I don’t think I really have the temperament to be an audio product reviewer.

That’s because I don’t like saying bad things about products or people. Even if they deserve to be said, it stresses me out to be put in a position of having to say them (other than confiding with trusted friends).

Maybe I’m too nice. Maybe I’m a chicken sh*t. Maybe, like all of us right now, I already have enough stress in my life and don’t want to add to it. But in my audio career I’ve shied away from doing product reviews whenever possible.

Doing a review properly – with the emphasis on properly – is hard work. You have to set the component up, which, especially in the case of computer- or networked-audio-based gear, can be complicated. Setting up a piece of gear is certainly time-consuming, especially if it’s a turntable/arm/cartridge or loudspeakers. Then you’ve got to allow for break-in, sometimes on the order of 200 or more hours as recommended by the manufacturer. That can be, shall we say tedious, and you have to hold off on making any definitive judgments.

For the purpose of example, let’s say we’re reviewing a pair of loudspeakers. They need to be set up exactly in terms of room placement and geometry – and even then there will likely be inevitable compromises – and auditioned using a variety of amplifiers, cables, source components, and listening material. Ideally, the speakers should be evaluated in more than one room, though this is usually impractical or impossible and the reviewer has to depend on the intimate knowledge of their listening space and the ways in which loudspeakers interact with it.

And even then, how do you know if you’ve gotten it right? I envy the reviewers who, with spectrum analyzers and measurement software and decades of experience and the unshakeable courage of their convictions, do their evaluations, and write their reviews with the confidence of a James Bond. Well, I’m a little more of a Woody Allen-type in this regard, even though I do have decades of experience in hearing hundreds of components in an equal number of listening situations, and may in fact be more qualified than most. I’d like to think that my judgments are accurate, although, like my memory, or my ability to, well, never mind, my high-frequency hearing ain’t what it used to be.

Consider the stakes involved. A review can make or break a product or even a company. And, what if the reviewer simply flat-out gets it wrong? It won’t exactly enhance their professional reputation when the consensus of other reviews comes rolling in. I admire the stones of the reviewers at Stereophile who write their reviews first, then hand them in for measurements.

Some reviewers and audio mags get around the conundrum of having to write a bad review by only reviewing products they like. If you’re an audiophile who has been around, you’ve undoubtedly read statements from editors and audio writers like, “we only have so much space for reviews, so why take it up writing about bad equipment?” They do have a point. Also, I think high-end gear has gotten much better overall than it was back in the day, classics like the Quad ESL loudspeakers or Audio Research SP-11 preamplifier notwithstanding. But, aside from performing the valuable service of warning readers about any potential dogs out there, or products that may not be worth the money (a subject of an entirely separate article: how does one determine value?), adopting a position of only reviewing good gear also lets the reviewer off the anxiety hook.

I know many reviewers who don’t suffer from the kind of stomach-churning, insomnia-producing reluctance to write critical or out-and-out negative reviews as I do, and I raise my bottle of Tums to them. Certainly, my former boss, the late Harry Pearson, founder of The Absolute Sound, didn’t have any qualms. Say what you want about the guy (and lord knows, he was an imperfect man) – when it came time to write a review, he wrote it like he heard it, unflinchingly, with no hand-wringing about what the manufacturers might think.

One time he wrote a review proclaiming the Versa Dynamics 2.0 was the new King of Turntables, dethroning the mighty Goldmund Reference. The very day that the issue came out, Goldmund president Michel Reverchon and Bill Peugh (then with the US Goldmund importer, now with Wilson Audio) came out to visit us at Sea Cliff TAS HQ – and Harry insisted that the two of them get the issue and read Harry’s review on the spot. I was a basket case. We were going out to dinner with them that night (at Zanghi’s, a favorite spot of Harry and Michel’s) and I pleaded with Harry not to give them the magazine. Michel Reverchon read the review, and with a Gallic shrug, said…very evenly…“well everyone is entitled to their opinion.” (Later, Bill Peugh told me I looked so bad that he was really worried about me and felt he’d better take me aside and calm me down. We laugh about it now. I hardly found it funny then. Ask Bill to tell you the story too.)

 

The Goldmund Reference turntable.

The Goldmund Reference turntable.

 

During my tenure at TAS Harry would sometimes assign an equipment review to me. He knew I didn’t like doing them. Most of the time he’d do this because a component he’d originally been enthusiastic about had lost its appeal to him in favor of the newest bright and shiny object, and he passed the review along to me. An FD review didn’t carry the weight of an HP review – perhaps nothing in the world did at the time – but it was a consolation prize that no manufacturer would complain about. And sometimes Harry would want me to review components he knew I wasn’t crazy about. Maybe He did it to groom me as a reviewer. Maybe he did it to “build character.” Maybe to make me squirm. But, since I was the Silver Surfer to Harry’s Galactus, I obediently did his bidding. (After seven years at TAS, I could do it no longer. Again, another story for another time.)

But, criticism is useful, and, well, critical if you’re an audio manufacturer. If you’re going to sell a product in the marketplace, it had better be good. (OK, many consumer electronics products these days are near-disposable garbage, but I’m talking high-end audio here.) Leo Fender, the genius behind the guitar and amp company that carries his name, used to quickly get impatient with the yes men and the flatterers, and looked to trusted confidants and working musicians to tell him what they really thought about a product. His designs have stood the test of time for 75 years and counting.

Call me The Reluctant Reviewer. On the other hand, when I hear something I like, my enthusiasm is boundless, as is my desire to share a good audio or musical find with others. And here I am.


The Ups and Downs of Touring

The Ups and Downs of Touring

The Ups and Downs of Touring

Ken Sander

As the spring of 1971 turned into summer we continued along with Superstar’s bus and truck tour. (see “Calling the Lubbock Lights” in Issue 156 for the previous installment about the Superstar, The Original Touring Company (OATC) roadshow.) One early afternoon we were checking out of a two-story Holiday Inn. I took one last glance around my room to check to make sure I was not leaving anything behind. My eye caught one of the pillows on the unmade bed. Hmmm, I thought to myself; that would make a fine headrest.

On the bus I settled in and propped my pillow between the bus’s window and my head. A cast member, Christine Raso, asked what was that I was snuggling with. “A pillow,” I said, and everyone turned around and looked at me. Suddenly, Joey Saulter jumped off the bus and ran up the stairs to his now-unoccupied room. Moments later he came out with a pillow.

Art Rushton sprang off the bus and hit the stairs running, then Kenny Lehman, Frank Baier, Bobby Cotter, and Dean Swanson followed, then almost everyone on the bus was running back to their old rooms. Couple of seconds later a flood of hippies came back down the motel’s stairs, each with a pillow in their hands. Oh crap, I thought; this is not going to end well. We were a motley crew on a bus in a small town in the Old West (at least it felt like the Old West to me at the time). This scene of twenty or more pillows leaving the motel looked like a sea of bad judgement. I did not know what was going to happen but whatever it was it did not bode well.

Most of our touring group went on the pillow run, but a few did not. One who stayed on the bus was my girlfriend Susan Morse (who played Mary Magdalene), who had commandeered my pillow, thus making her trip back to our room unnecessary, and reverting me back to a pillow-less traveler.

With everyone back on the bus, I yelled up to Doyle, our bus driver, to get going. We pulled out and headed down the two-lane blacktop road. Phew, we might get away with this. Wrong again: less than a mile down the road a police car with lights flashing passed us and waved the bus over. Uh oh, are we getting arrested?

The police officer got out of his patrol car, motioned to the bus driver to open the door, and boarded the bus. He looked annoyed. He surveyed the scene, looking disgusted by our long-haired crew. “What are you people thinking?” he asked, and with all eyes on him, nobody answered. “Okay everyone off the bus!” he ordered. Holy cow, we are getting arrested, I thought to myself. As we got off the bus his partner opened the trunk of their patrol car and told each departing passenger to put their pillow in the trunk. It was quiet, nobody was talking, and soon we were all standing in a line beside the now-empty bus.

“All right,” the cop said, “back on the bus.” Oh. I think he is going to have the bus transport us to jail. After we were all seated, he reboarded and looked at us in disgust. After a minute of glaring at us he said, “that was some dumb sh*t, don’t do it again!” and turned and got off the bus.

We all breathed a collective sigh of relief as the police car did a U turn and drove back in the direction of the Holiday Inn. The bus driver pulled back onto the road as our now noticeably quiet group looked out the windows. About a half an hour down the road someone broke the silence and conversations started to resume. To my knowledge, nothing was ever said about the incident again, and it goes without saying that we were cured of our pillow lust.

We were doing some gigs in Colorado and had a date in Colorado Springs. Upon arrival, everyone was bone-tired from having done a string of shows in a row. We were sorely needing a break and were fortunate in having the next day off. I was familiar with the Springs, having been stationed at Fort Carson in the winter of ’64 – ’65. I was amazed how much the Springs had grown in the seven years since I had been there. Back in the ’60s I thought of Colorado Springs as a military town with an Army base and the Air Force Academy adding at least 50,000 troops to the local population.

Next morning at breakfast I suggested that it might be a fun experience to rent some motorcycles and drive-up Pikes Peak. I could not do it when I was in the Army because I was stationed there in the winter. I had wanted to, but the winters in Colorado were brutal. But now it was summer. The climate was wonderful; clear, dry, and warm.

I found a motorcycle shop in the Yellow Pages that rented bikes and called them up. The owner was accommodating. His rental stock was six Honda 175cc street motorcycles and one Honda 350cc dirt bike, which was the one I took. The motorcycle shop was just outside of downtown. We filled out the paperwork and the owner gave everyone instructions on how to use the bikes.

The guys (none of the women were interested) took a test drive around the block, and everyone seemed to get the hang of it. We headed out and I took the lead. We went westward for a few miles ’till we got on the road that went up Pikes Peak. There was hardly any traffic but still It was slow going because most of us were new to motorcycle riding.

I slowly developed a big lead, so I pulled over to the side of the road and waited for the rest of them to catch up. Lee Grayson came into view and pulled up beside me. A few others came over and we waited for the rest. Dean Swanson barreled around the corner and took the turn too wide. His motorcycle slid out from under him. Both the bike and him took a slide on the gravelly part of the shoulder and finally came to a stop in a cloud of dust. A moment passed and then Dean jumped up laughing. He had gotten a couple of bloody road rashes and his clothes were ripped, but he was not hurt. Relieved, we all walked over to him, and we lifted the motorcycle, which seemed to be okay.

 

The road to Pikes Peak. From Ride to Food.com.

The road to Pikes Peak. From Ride to Food.com.

 

We were almost a third of the way up and all of them were pooped. They wanted to go back but I was fine and wanted to go all the way up Pikes Peak. I took off alone and I was driving up this dirt road. It was a nice drive with magnificent views, and seemingly pretty safe. Seeing a sign that said that I was two miles from the top, I started to get excited. Suddenly the bike stalled. I checked the gas tank and it was empty. That was surprising – I had assumed I had a full tank. Perhaps the bike did and the drive up the mountain had burned more gas than normal.

Just a few minutes later a police car pulled up. I said to the trooper that I had ran out of gas. He opened his truck and took out an olive drab five-gallon military-type gas can and filled up my tank. I thanked him and he asked for a dollar fifty to replace the gas. He explained, that way he always had gas on hand for those who ran out. It seems that the thin air at high altitude and strain of nonstop uphill driving will burn significantly more gas than normal. Turns out that people running out of gas like this was pretty common.

 

At the summit of Pikes Peak. Courtesy of Wikimedia Commons/Charles Williams.

At the summit of Pikes Peak. Courtesy of Wikimedia Commons/Charles Williams.

 

I made it up to the top and looked, around taking in the view. Then I used the loo and headed back down. That trip down seemed more dangerous, so I kept my speed in check. Back at the motorcycle shop I looked in the mirror and saw that I was covered in dust. All I needed was a cowboy hat to complete the look.

 

Pikes Peak Highway near the summit. Courtesy of Wikimedia Commons/Glenn Harper.

Pikes Peak Highway near the summit. Courtesy of Wikimedia Commons/Glenn Harper.

 

As summer turned to fall, the news came that the musical Jesus Christ Superstar was in rehearsals and scheduled to open on Broadway in a few months. At first that did not seem to be a problem, but soon enough, it was. Our college bookings started to thin out. Ticket sales started to slump and cash flow was slowing.

 

Jesus Christ Superstar, album cover.

Jesus Christ Superstar, album cover.

 

My thinking was that the upcoming Broadway show would create a better option for audiences than our show. One of our selling points was that we were the only show doing this material, (which was based on the soundtrack album that had come out in 1970), or at least, ours was the best show with the most talent. We were innovators, possibly visionaries — at least I liked to think that. As with most Broadway shows, there would also eventually be (other) touring companies and road shows; in the case of Jesus Christ Superstar, they would be produced by RSO Records co-founder Robert Stigwood and The Robert Stigwood Organization, managers of Eric Clapton, the Bee Gees and others.

This helps the producers break in talent, similar to baseball’s Triple-A or minor league teams getting talent ready for the majors. Regional touring companies were opportunities to train and season new talent, or even to break in “name” personalities with something more effective than just rehearsals. An example would be my then-girlfriend Susan Morse. When she was in the musical Hair, she started at the Aquarius Theatre in Los Angeles (technically a road show) and after a month or so they brought (graduated) her to the Broadway show, playing the same part.

These road shows were like branches of the Broadway show, and a surefire way to increase those shows’ profits. Promoters, colleges, and venues would also now have another choice other than booking our OATC touring company. We were now going to be in the shadow of a more serious production, with props, fixtures, and costumes. We would not be up against bus and truck tours, but offshoots of the Great White Way, mighty and in full bloom.

As fall was turning into winter our bookings were becoming scarcer, and we no longer were a guaranteed sell-out. Attendance was falling off.

Betty Sperber, our producer, wanted to cut costs. As part of the belt-tightening, an advance man – me – seemed like a luxury. So, I was off the road. Other cost-cutting measures were initiated. Morale suffered, and the future did not seem as bright. A short time later, before the Broadway opening, Superstar came off the road and that was the end.

Susan joined the cast of Godspell. Joe Morton went on to do television series and movies (The Brother From Another Planet, Terminator 2: Judgment Day, and others} over the next forty years. Kenny Lehman produced Nile Rodgers and Chic’s hit record “Dance, Dance, Dance [Yowsah, Yowsah, Yowsah].” Roy Bittan joined Bruce Springsteen’s E Street Band and I went on the road with Patti LaBelle.

 

Kenny Lehman's Gold Award for Chic's first album.

Kenny Lehman’s Gold Award for Chic’s first album.

 

That is life on the road. You share with people of similar hearts and minds and then you do it again with a new family.


How Do You Q? Adjusting A Speaker’s Frequency Response Curve

How Do You Q? Adjusting A Speaker’s Frequency Response Curve

How Do You Q? Adjusting A Speaker’s Frequency Response Curve

Russ Welton

Do you want to make adjustments to your speaker’s in-room frequency response and quell those unwanted pesky peaks and dips? Do you understand how equalization (EQ) works but have always struggled to understand the spec of “Q” and what part it plays in our adjustments? Do you have an equalizer or receiver with room correction capability?

Are you an audiophile who also likes to take photographs?

If you answered yes to any of these questions then you are in the right place.

In this article we will look at how to make insightful Q adjustments to our frequency response curve that will benefit your sound. By the end, your understanding of the effect of these adjustments should allow you to make them with judicious confidence rather than inadvertently mess up your sound. And, if you are someone who also enjoys photography, you will likely find our included ready-reckoner memory aid to be helpful in making adjustments with ease and meaningful impact to your sound.

For those who might need an introduction or refresher, what is Q? Most equalizers are graphic equalizers, the type found anywhere from Windows Media Player and Apple Music to the standalone units used by recording studios, DJs and in some home audio systems. A graphic EQ will boost or cut the volume level of a fixed selection of frequencies, usually in one-third-octave ranges. A parametric EQ, on the other hand, can boost or cut any frequency within its control range, and also adjust the bandwidth – or Q – of the selected frequency range. (Technically, Q is the ratio of center frequency to bandwidth.)

Graphic equalizers are intuitive. They’re familiar ground for us and are visually representative of the changes we make in the adjustments. You simply boost or cut a pre-set frequency level to taste and literally see a “graph” of the adjustments by the positions of the sliders. Parametric EQs are more advanced – they may allow us to choose from a much greater choice of specific frequencies we want to zero in on.

 

Waves Audio GEQ Graphic Equalizer software clearly showing the visual nature of the position of the EQ controls. From the Waves Audio website.

Waves Audio GEQ Graphic Equalizer software clearly showing the visual nature of the position of the EQ controls. From the Waves Audio website.

 

Once you have selected your chosen frequency (or octave) you want to edit, this becomes the center of your Q bandwidth. The Q number you choose selects how wide or narrow the bandwidth is stretching out from that center point. You may then use a milder or a greater amount of boost or (often more practically) cut as you increase or decrease the dB level of that Q bandwidth respectively. Parametric EQ may be less easy to visualize unless you have an on-screen display which shows your curve as you edit it in real time – but they are far more flexible and powerful in their refinement of your edits. You can operate with more surgical precision instead of less.

Let’s say we have a problem with a peak in our in-room frequency response at 500 Hz. We could choose to cut the volume of a slice of one octave in width, but taking 500 Hz as our problem center frequency will encompass double that amount going up in frequency, and half that amount going down in frequency. (Going up an octave in pitch results in a doubling in frequency and vice versa – a note played an octave above A 440 will have a frequency of 880 Hz.) So, if we want to make adjustments which cover a one-octave range centered at 500 Hz, we will be effectively looking to alter a width of frequency from 1 KHz (double 500 Hz) down to 250 Hz (half of 500Hz). Our Q factor for this one-octave slice of bandwidth can be given a value of Q 1.4. How is this derived? Here’s a quote from UK sound contractor Astralsound:

“Q is a relation of bandwidth. The number of octaves (or fractions of an octave) over which the signal is affected by boosting or cutting.

In EQ circuits, bandwidth and Q describe the same thing, but use different (and inverse) scales: the higher the Q, the lower the bandwidth, and vice versa. The range of possible adjustment can run from about 1/60 octave (Q ≈ 90) to about 3 octaves (Q ≈ 0.4).

Bandwidth is derived from the points on the EQ curve that are 3dB above or below the amount by which the central frequency has been cut or boosted. The center frequency is at the midpoint (in octaves) between the lower and upper frequencies: if the bandwidth is two octaves, the center frequency is one octave above the lower frequency, and one octave below the upper frequency (e.g., 1 kHz lower, 2 kHz center, 4 kHz upper).”

But let’s say we don’t want to affect such a wide part of the frequency range, which, in fact, is likely to be the case – boosting or cutting all those frequencies by, say, 3 dB, could likely create too much of a honky or muddy sound in the midrange. Purely as an illustration: in the case that the range where female vocals reside needed to be boosted a little, maybe just 1 dB would help. Even so, you might then find then that there is too much snare drum snapping across the mix compared to before your adjustment, but you still want the female vocals to be a little more prominent. Click on this link for an interactive chart of the frequencies of vocals and musical instruments.

What can you try?

This is where narrowing the width of the Q value may help us to be more specific in our edit. Instead of spanning a one-octave range, which would affect the fundamental notes of the snare, we could try half an octave range, from 375 Hz to 750 Hz. We still have 500 Hz as the center frequency, but now half of the bandwidth than before. Our Q factor for this half-octave slice can be given a value of Q 2.8.

If we wanted to make a narrower adjustment still, we could make a quarter of an octave adjustment with a Q of 5.6, or an eighth-octave with a Q value of 11.2, or sixteenth at 22.4 and so on. The higher our Q number, the narrower our bandwidth adjustment is, thereby allowing for a more specific edit of whatever instrumentation and vocals fall in that chosen frequency range. Or in other words, the higher the Q, the fewer frequencies are affected.

But hang on a minute. What if, conversely, we want to make an entirely different “edit” which affects a wider two-octave bandwidth range? Let’s say we want to widen the bass extension into the lower frequencies with 60 Hz as our center frequency. For a two-octave Q bandwidth, we halve our one octave Q factor of 1.4 down to 0.7. (Note: I’m not suggesting that you should make this adjustment. It just serves to provide an example of what varying Q bandwidths cover within their frequency response.)

Now this is where the photography buffs among you may have recognized a pattern with our Q numbers, and how they share a pattern of numbers that may be oh-so-familiar to you, the dear reader, if you use a camera. The idea is that if you already know your f-stop numbers you also already know your Q numbers. You can simply double them and this halves your Q bandwidth.

E.g., 1.4 to 2.8 doubles the f-stop number (but we’re not talking the amount of light or physical aperture, rather just literally doubling the familiar f number). This is then the same as our Q. 1.4 to 2.8 which has halved our Q.

Here’s a useful chart:

 

Double Your F-Stop Number to Halve Your Octave Q Bandwidth:

OCTAVES Q f -STOP
2 0.7 0.7
1 1.4 1.4
  1/2 2.8 2.8
  1/3 4 4
  1/4 5.6 5.6
  1/6 8 8
  1/8 11.2 11
  1/12 16 16
  1/16 22.4 22

 

What this means is that if you simply just remember that a one octave range has a Q of 1.4, you then can double your already familiar f-stop number (not aperture [1]) or Q number to halve your octave. You can narrow the bandwidth as much or as little as is necessary to fine tune your frequency curve adjustment! Just as with light, as you narrow your aperture by squinting, you can see things in the distance more sharply. Similarly, as you narrow your Q, you can make sharper adjustments to your bandwidth with increasingly refined specificity.

You may of course want to make adjustments of Q numbers not on the chart, but generally, this selection of Q numbers may readily cover the bandwidths you’ll likely want to use to make your adjustments with.

Here is a link to a calculator that allows you to enter the data for the lower and higher frequencies you wish to control, and it will calculate the center frequency and Q number for you:

https://www.astralsound.com/parametric-eq.htm

Then to calculate your Q value, subtract the lower frequency of your undesirable peak F2 from the upper frequency of that peak F1.

F2 – F1

So, using our earlier example, that would give us 1,000 Hz – 250 Hz = 750 Hz

Then divide the center frequency F3 by the result.

F3/(F2 – F1)

500 Hz/750 Hz = .67, so a Q of 2 octaves would be adequate for what we would want to apply. If this turns out to be too wide in its audible effect upon other instruments in the mix, we could try using one octave of 1.4 or less.

Using the knowledge as someone familiar with the f-stop scale of a camera can help you quickly remember your Q numbers and visualize the range of bandwidth you are intending to apply within your frequency response curve.

With some AV receivers, using their built-in software or control apps, you can actually see the EQ changes you make, and how smooth the resultant curve is (or not), and as you alter the Q bandwidth, this too can be seen in a very helpful and relatable way. One of the great features with Yamaha’s A/V receivers, as an example, is the ability to see and edit parametric EQ with editable Q values. This is a very powerful sound-tailoring feature that hopefully will be adopted by more of the industry. Why? It’s uncommon for an EQ to offer the exact frequency you need to edit as dictated by your measured room response. Until then, perhaps you are now more empowered to make the adjustments you want to with insight and confidence.

In a coming article we will discuss the practicalities and limitations of using EQ.

 

[1] Remember, we’re not working with light here. I say we’re not doubling the amount of light as we’re just using the f-stops as a reference for what our Q numbers are. This is because, if you double the f aperture to 2.8 it becomes half the amount of light at f4 and half again by f5.6.

So, to know your Q numbers, just double the f number.

Header image: graph showing parametric equalization. Courtesy of Wikimedia Commons/Matias.Reccius.


Ann Wilson: From Heart to Fierce Bliss

Ann Wilson: From Heart to Fierce Bliss

Ann Wilson: From Heart to Fierce Bliss

Ray Chelstowski

It is sometimes rare to find established artists who have something new to say, something new to prove, or some new creative impulse they simply have to share. Ann Wilson seems ready to do it all. After being on top of the music world numerous times with rock legends Heart and a continuing solo career, exploring everything from rock to pop to folk and blues, Ann has found her way back to where it all began – fronting a fiery hot rock band. On April 29 via Silver Lining Music, she will release her latest album, Fierce Bliss, a record rooted firmly in the Seattle rock sound.

The genesis of the record (now available for pre-order) had an interesting beginning. Entertainment attorney Brian Rohan, former lawyer for the Grateful Dead and Ken Kesey among others, began to make some introductions that led Wilson to assemble a group of hot session musicians from Nashville. They all met for the first time at Alabama’s famed Muscle Shoals Sound Studios and cut songs that would find their way to fans via last year’s EP, Sawheat 8 (recorded after her 2018 album Immortal, covered in Issue 135). The chemistry was so strong between Ann and the band that they continued to lay down tracks in Alabama, then in Nashville and later Connecticut. There, guitarist/musicians Kenny Wayne Shepherd and Warren Haynes respectively joined in on the fun and made contributions to the music that add plenty of attitude, wire-to-wire. As powerful as those collaborations are, perhaps the most remarkable addition to the record are the harmony vocals country legend Vince Gill provides on the ballad “Love of My Life.” His sterling, angelic vocals cradle Ann’s powerful rock rasp in a way that surprises and delights.

The album is being released on vinyl in addition to CD the usual streaming services, so Ann and company took great care in the packaging design, paying close attention to every detail. That began with the cover art by Roger Dean. Best-known for his work with bands like Yes and Asia, Dean developed a cover image that appropriately captures the sense of survival and hope represented in each of the record’s 11 tracks. While the album’s packaging and presentation provide a lot of material to pore over while the record spins, it will be difficult to take attention away from Ann Wilson’s voice, which is remarkably strong, with a clarity and confidence that is as present as it was on the 1975 Heart debut album, Dreamboat Annie.

Ann is currently back on the road in support of her “An Evening With Ann Wilson of Heart and The Amazing Dawgs” tour. We caught up with her to talk about the making of this “fierce” new record, the influence that her band and guest artists have had on her creative process, and how at this point in her life there is a peace and serenity that have given her great balance, but that haven’t tamed her rock and roll heart or passion for making music and performing live.

 

Ann Wilson, Fierce Bliss, album cover.

 

Ray Chelstowski: Fierce Bliss comes out right on the heels of last year’s EP, Sawheat 8. Were these songs recorded during those sessions?

Ann Wilson: Yes. Suddenly, I had a bunch of songs that I wanted to record. We started with the ones [we’d recorded] at Muscle Shoals and then just kept going. We went to Sound Stage Studios in Nashville and then to Power Station New England in Connecticut and got them all done. We got cover art from Roger Dean and were on our way.

RC: The single, “Greed,” sounds like it could have been a 1970s Heart track and sets the tone for the whole record. Was it the first song you recorded?

AW: I think the first ones we did were “Fightin’ For Life” and “As the World Turns.” My guitarist, Tom Bukovac and I hadn’t written “Greed” at that point. We wrote that during the second session at Sound Stage in Nashville. But it was in that first Muscle Shoals session that I began to understand that this was the band that I wanted to be in and work with. They can do anything. They can do Heart, they can do the Rolling Stones; they can be anyone you ask them to be. Most importantly, they can make it really rock. That’s what that first session was really all about.

RC: It shows. This lineup really adds a terrific amount of muscle to every track.

AW: Yeah, I agree. After all of the quarantine there was a lot of pent-up energy for everyone. Our attitude was, “let’s rock!”

RC: Was this band hand-picked or had they worked together before as a backing outfit?

AW: Well, we assembled the band. But I knew that [they] all had known of each other before this, and some had been together on projects before. But they had never all been together before as a band. They’d played a lot of sessions for other people where they had gone in and had people tell them what to play. But with this band I don’t tell them what to play. They bring their own thing to it. That’s what makes it so good. It’s got Tom’s brainy brilliance and Tony’s (Lucido, bass) muscle. The drummer, Sean T. Lane, is from Seattle and he was just like a stranger that came into the mix. He’s just amazing and also so cool. And of course, there’s – Gordon Mote, our keyboard player, who also [plays] guitar and mandolin. It’s just a really cool band that frankly has everything that I need.

RC: You have always used video to support the release of new material, whether it’s a single, an EP or a full-length album. For many established artists that seems to becoming rarer.

AW: Maybe that was something that [started happening to me during the 1980s MTV period. But I really think that if it’s the right video for a song, then it can’t be beat. It’s just a real nice combo. It’s like opening up another room to help you better understand the song. The video for “Greed” was done by an art student. We told him to just run with it and to show us what she could do. I think this kid, Elliot Crotteau, did a really great job.

 

RC: One of the great surprises of the album is to see and hear Vince GilI appear on the song “Love Of My Life.” I would have never thought that his voice would match so well to yours. How did that come about?

AW: I wanted to do a duet with a man on that one. I thought long and hard about what it should sound like, because the tone of the man’s voice was going to dictate everything in the song. So, it couldn’t be someone with a gruff or smoky voice. It had to be an angel! I’ve always been a massive fan of Vince. Whenever I hear him sing I just go, “please!” It’s just so beautiful. I was so surprised when he accepted. He just got in the car one night and drove down to Muscle Shoals from Nashville. He was by himself, came in and sang, then drove back. He was just so unassuming, and great!

RC: What many people don’t know is how accomplished Vince is on guitar. Years ago, he was actually recruited by Mark Knopfler to join the band Dire Straits!

AW: Yeah, you don’t think about Vince’s guitar playing that often. That was actually the first thing that I ever heard him do. Back in the day, Heart was on a bill with Rush and Pure Prairie League. Vince was in Pure Prairie at that time and I witnessed him play during a sound check in the afternoon. The band was playing Led Zeppelin songs. He was just peeling them out, totally at home with every genre. I thought, “what a player”! Then he opened his mouth to sing!

RC: I interviewed Warren Haynes a few months back and he raved about The Power Station in Connecticut. You cut a few tracks with him and Gov’t Mule there. What did you think of the studio?

AW: It came time for when I needed to get Warren and Gov’t Mule on tape for my record. It just so happened that simultaneously they were [at the studio] working on two albums. One was just a regular Mule record and the other one was all blues. They took over two rooms at The Power Station. One was set up for the blues record, and one was set up for the other one. So, I just went in and became the lead singer for the two songs that Warren and I wrote together for my record. I thought it was a really cool place.

RC: You recorded the album in three separate locations, with a number of guest musicians and yet the record really holds together like it was all cut in one studio.

AW: That was helped a lot by the guy who mixed the record, Chuck Ainlay. He just made everything live together nicely on the same record.

RC: Another surprise on this record are the covers you chose, especially Robin Trower’s “Bridge of Sighs.” The original has a David Gilmour vibe to it, where yours really comes alive and kicks into gear with the addition of Kenny Wayne Shepherd.

AW: When we were discussing “Bridge of Sighs,” Kenny Wayne got really excited. I think that’s because he’s younger and the Robin Trower track was something that he was probably raised on. So, when we discussed doing it his eyes just lit up. He came into the studio and just tore the lid off of the song.

RC: Roger Dean did the cover art and of course is best known for the album images he created for bands like Yes and Asia. How did you decide that he was the right artist for this project?

AW: We are releasing the album on vinyl and I just want people to have the full vinyl experience. We have a really warm-sounding, loud record and now you have something to hold in your hands while you’re listening. There’s so much to check out in the packaging. There a booklet and a bunch of photos and all of the lyrics. It’s a beautiful package and Roger Dean and his team put it all together.

RC: The record thematically seems to have a survivor’s perspective. Is that intentional?

AW: Definitely. The pandemic and the quarantine just made for a lot of thinking and daydreaming space. That’s where those songs come from. They just materialized through this period.

RC: You have a bunch of tour dates lined up, mostly on the West Coast. Beyond that, what lies ahead?

AW: I think that I just want to keep writing. In fact, I’m writing for another new album right now. Fierce Bliss comes out April 29 and by that time I’ll have three or four songs finished for another album. I’m just gonna keep on going.

Header image courtesy of Ann Wilson.


Pilgrimage to Sturgis, Part 16

Pilgrimage to Sturgis, Part 16

Pilgrimage to Sturgis, Part 16

B. Jan Montana

That evening, I related to Melody’s family the story of the interesting dialogue I’d heard from the senior citizens on the beach.

Melody’s brother started laughing. “You don’t think they’re here to fish, do you?”

I looked at him with a jaundiced eye.

“They’re here to get drunk, man!”

“I don’t think so. Most of them had no alcohol, and the three that did were nowhere near drunk. To the contrary, they were more lucid than most people I meet.”

“I agree,” Melody’s dad interjected; “I’ve overheard some of their conversations and they are compelling. We can learn a lot from people who’ve been around for a while.”

That shut Melody’s brother up.

“Tomorrow’s the last day of the rally and there’ll be many riders going by here, so I’m going to open the saloon again. I want you behind the bar,” Dad said to his son.

“Can’t do it dad; if I don’t get those tomatoes harvested, they’ll be too soft to ship.”

”Well, I don’t want to put Melody back there and risk another incident.”

“I’ll be happy to help,” I interjected. “What hours will you be open?”

“Really, Montana! That would be great. I’m thinking noon to 6 PM, does that work for you?”

“No problem; I’ll ride to Spearfish in the morning, pack up my campsite, and be back here by noon.”

Melody and her mother smiled.

Melody’s brother took me on a tour of his greenhouses after dinner. They must have been 100 feet long with thousands of plants in neat rows on tables served by sophisticated irrigation, lighting, temperature, and fertilization systems. He’d studied agriculture in college and was well-versed in modern methods of intensive farming.

“I’m the first to institute greenhouse market gardening in South Dakota,” he said. “No one thought it was possible in this climate, but I’ve proven that with the right equipment, we can get three organic crops per year instead of one.”

I made no secret of the fact that I was impressed, but not as much by the greenhouses as with the fact that he had found his calling. Young men often get into trouble not because they are bad people with evil intent, but because they are adrift and don’t know what to do with themselves.

When I worked as a probation officer, I often talked clients into taking the Strong/Campbell Interest Inventory, a personality assessment analysis that compares their personalities to those of successful people in different fields. It was a great tool to steer them in a direction which fit their personalities, far more effective than referring everyone to an academic institution. (People who aren’t suited to that environment usually fail, further denigrating their self-image.) Many of these guys ended up taking apprenticeships in various trades, and years later often made more money than their academic counterparts. Not only that, they were happier because they were doing what they loved, just like Melody’s brother.

It was late by the time I got back to my cabin. Melody didn’t show.

After breakfast the next morning, I rode to Spearfish to pick up my gear. The Harleys on the road were loaded with luggage and heading home. I was again captivated by the scenery. Many parts of the Black Hills look like a manicured theme park. The huge stones are neatly and deliberately placed to give the scene a balanced presentation. The trees were carefully selected for their aesthetic properties and sized just right to complement the stones. I couldn’t help but stop at several overlooks to admire the landscaping and take photos. One of them offered a specular view over the sun-blasted badlands.

When I arrived at Spearfish City Campground, many riders were packing up, including my friends Bert and Roland. We sat down at the picnic table for a while and exchanged pleasantries.

“Some of the finest riding roads in America are in the Ozarks,” Roland piped up, “and I’m going to be Bert’s tour guide.”

“That’s great, Roland, you guys will have a fine time. This your first time to the Ozarks, Bert?”

“I’ve ridden by them but I’ve never explored them. You can come with us if you like, Montana.”
“Tempting offer Bert, but I’ve made other plans.”

“Oh, that reminds me,” he said. “There’s another message for you on the bulletin board.”

Bert insisted again on giving me some money for letting him stay on my campsite, but I refused.

“What you taught me about beating disease has had a profound influence on me, Bert?” I said. “We don’t have to be dependent on doctors if we take responsibility for our own health. That knowledge is worth more than anything else you can give me, and I’ll be forever grateful.” He smiled.

Candy’s note on the bulletin board read, “Greetings Montana, the boys are getting together on Monday evening to share Sturgis stories and photos. The ride’s about nine hours on a Harley, but I’ll bet you can do it in seven. Please join us? You can stay at our place for as long as you like.” She left a phone number.

I took the note down from the board and put it in my pocket.

“You going to Minneapolis then, Montana?” Bert asked.

“After two invitations, I guess I don’t have much choice.”

We packed our gear and swapped contact info. I gave him a hug before we took our leave. He clearly wasn’t used to that but, somehow, I knew this would be the last time I’d ever see him.

When I got back to the trout pond, Melody’s mother was cleaning the cabins. I asked her if and when I could use the machines to do my laundry.

“I’m washing right now,” she responded. “Just throw your stuff in this pillowcase and I’ll do it.”
I went back to my cabin and a few minutes later came out in shorts and my last T-shirt along with a pillowcase stuffed with laundry.

“Throw it in the bin Montana; I’ll take care of it.”

“I really appreciate that.”

Melody’s mom was a hard worker who took her responsibilities seriously.

“Lot of work running a place like this, huh?” I asked.

“Not as hard as teaching school,” she responded, “and a lot less stress. I love it here. I’m glad we raised our kids here, they both turned out well. I couldn’t be more pleased.”

Why do self-employed people always seem happier than those working for others, I asked myself, even if they work twice as long and twice as hard?

I went back to my cabin and looked over the papers I’d pulled out of my jeans. I ripped up all the credit card receipts and came across a paper I didn’t recognize. It was titled, “The Bhagwan’s 10 Commandments for a New Era.” Ah yes, the paper his female assistant gave me as we left the Airstream. It was just before noon so I didn’t have time to read it before rushing off to the saloon; I arrived just as Melody and her dad were unlocking the front door.

He started to give me instructions for operating the bar, but Melody interjected.

“I’ll take over from here, dad.”

“Thanks Melody, I’ll leave it to you.”

“Why don’t you move your bike around to the front of the building, Montana, and maybe it’ll entice some other bikers?” she requested.

As I followed her suggestion, I waved to the seniors on the shore of the fishing pond. They waved back, signaling me over.

“No time,” I hollered, “got to work the bar.” They waved me on.

Melody explained how to work the cash register and where everything was located, including a pot of coffee brewing next to the fridge.

“I’ll make breakfasts and burgers in the building next door,” she said.

“Got it…I missed you last night.”

“We’re two ships sailing past each other in the night, Montana. Tomorrow you’ll be gone and I’ll be preparing to go back to school.”

“Will you be visiting the Bhagwan again on Friday?”

“Oh yes; he’ll be out-of-state next month so he’s hosting only two more Friday session this summer. If you’re in the area you’re welcome to join me.”

I determined to do just that.

A red pickup truck pulled in front of the bar. “Ah, it’s Lonnie Many Bears!” Melody exclaimed.

Lonnie wore long, braided hair and a headband with Native American symbols, a deerskin jacket, and an amulet around his neck. The guy with him was dressed like a typical college student.

“Who are they?” I asked.

Lonnie is a Lakota chief who lectures on Native American studies in my school,” she responded. “He lives near here and likes to drop by on Saturdays. Until he turned 50, he spent a month every winter in the mountains by himself with nothing but a sleeping bag, a tarp, a knife, and some basic necessities.”

“What did he live on?”

“He snared small game. According to native tradition, there’s lots of other edible things in the woods to eat.”

“How did he keep from freezing at night?”

“He used the tarp to build a lean-to and would build a fire each evening at the open end.”

When they walked through the door, Melody ran up and gave him a big hug.

They sat down at the bar and Melody introduced us: “This is Lonnie.”

“This is Richard, my grandson,” Lonnie said. “He just graduated from college.”

I smiled and shook their hands.

“The usual, Lonnie?” Melody asked. He nodded.

“I’ll have the same,” Richard requested.

“OK, two eggs over easy with ham and toast. I’ll be right back.”

As she was leaving, I asked them if they wanted anything to drink.

“Just coffee,” they responded, and began talking to one another.

“As I was saying in the truck, Grandpa, if all the native American tribes had pooled their forces to repel the advance of the Europeans, they’d never have gained a foothold in the Americas.”

“If all the Africans had done the same thing, they wouldn’t have been colonized,” Grandpa responded, “but those tribes had been fighting for centuries for control of resources. They were bitter enemies. No one could have convinced them to drop their hostilities for a threat they didn’t understand.”

“Don’t you see, Grandpa, it was those hostilities that made it so easy for Europeans to divide and conquer.”

“So what are you saying Richard, that it was our fault that the West was lost?”

“Right, we didn’t engage them effectively.”

“They outnumbered us badly Richard; we didn’t stand a chance.”

“That was true in the 19th century, Grandpa, but before that, we could easily have defended our lands with a unified response.”

“Woulda, shoulda, coulda, Richard, everyone’s got 20/20 hindsight. You have to remember that the Spanish decimated most of the native population with disease.”

“That was a crime against humanity.” Richard responded.

“An inadvertent crime against humanity; nobody knew anything about viruses or bacteria back then. The native population didn’t connect it to the Europeans. Most of the victims had never even seen one. They saw disease as a foreboding omen from the Great Spirit.”

“Stupid.”

“No, it was superstition. Superstitious people are easily scared.”

“Still, I wish they’d fought as a united force.”

“A draped horse carrying a Spanish cavalry rider clad in gleaming steel armor must have seemed like a monster from outer space to people who had never seen horses. When they observed that it could outrun a buffalo and kill braves with a stick that spewed lightning and thunder, they must have been astonished. Hundreds of them in formation must have seemed like an attack from the forces of hell. Who could know what other powers those devils had?

As virtually unarmed, un-armored, and unorganized foot soldiers, our braves would have been easy to intimidate, demoralize, and route, even if they were a united force. It was smarter for them to capitulate in hopes of the tribe being spared.”

“I suppose that would have been the logical thing to do, Grandpa.”

“Of course it was, our ancestors weren’t fools.”

“Sad story nonetheless.”

“Like it or not, the entire history of the world is a series of sad stories, Richard – one culture overrunning another. Ever read the Bible? The world has always been governed by the aggressive use of force. Many American tribes were wiped out by other natives tribes long before Columbus arrived. This happened over and over again to every culture on every continent of the world. What the Europeans did to us was nothing new or unique, they’d been doing it to each other for thousands of years. Why do you think they built all those castles and fortresses? Why do you think we have cliff dwellings in the Southwest?”

“I’d never thought of it that way.”

“To hold a grudge on this account will not improve your life.

“So, I should forget my heritage?”

“Of course not, you should honor your heritage, and insist that others do as well, but you can’t move forward by looking in the rearview mirror. I’ve seen other young men like yourself consumed with hate for what Europeans did in the past. What did it get them? Nothing but miserable, self-destructive lives on the reservation.

The irony is, most European-Americans are descended from people who immigrated here after the year 1900. Their ancestors played no part in the Trail of Tears, slavery, or American history. Why should Native Americans hate them? The fact is, their ancestors came to America to escape similar injustices in their home country. The enemy is not whites, the enemy is tyranny.

“I understand Grandpa, thank you for that. So, what can I do for my people?”

“Here’s what you can do. First ask yourself, ‘Is my life better or worse than that of my ancestors?’ If you answer honestly, you’ll find that in virtually every respect, it’s better, longer, healthier, happier, and presents more opportunities than were ever available to us in the past. That’s your contemporary legacy Richard; you just have to decide what to do with it.
I want you to prove that the Lakota can do anything as well as anyone else in America. If you can demonstrate that to the other kids in the tribe, you’ll have done a greater service than any Indian activist.”

With that, Lonnie Many Bears transferred an amulet from around his neck to his grandson’s neck.

“But never forget your heritage.”

I saw tears well up in Richard’s eyes.

Melody came through the door at just the right time to lighten the mood.

“All right then, here we go, two orders of ham and eggs with toast,” Melody exclaimed cheerily as she set two plates on the counter in front of the men, “Need any sauces or spices?”

Richard requested salsa.

 

[Note: this installment was written prior to the current situation in the Ukraine – Ed.]

Previous installments appeared in Issues 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156 and 157.

Header image courtesy of Wikimedia Commons/Hiart.


Back to My Reel-to Reel-Roots, Part 10

Back to My Reel-to Reel-Roots, Part 10

Back to My Reel-to Reel-Roots, Part 10

Ken Kessler

In which Ken Kessler makes a discovery linked to his dad.

Only the churlish would deny that there’s an element of nostalgia in the Reel-to-Reel Revival, however much the inescapably superior sound quality motivates us to return to a costly, inconvenient, niche format. And while I admit that it was nostalgia rather than sonic merit which led me to buying five ostensibly useless tapes, a recent incident in a record store also informed the experience. It reminded me how quickly things are forgotten, like mimeographs and fax machines.

What happened was almost as much a shock about the passage of time as those YouTube clips in which someone hands a cassette to a child or Gen Z-er and they have no idea what it is. I dropped into the relocated HMV store in Canterbury, part of what was the UK’s biggest chain of record shops, which has been downsizing post-pandemic. As it turned out, the smaller store was much nicer than the old one, and – hot damn! – did they have a superb vinyl selection!

As is the staff’s wont, a hipster-ish twenty- or thirty-something approached me to ask if I was able to find what I was looking for, totally helpful and with not a hint of derision on espying a septuagenarian in the store. I told him I was OK, but could he answer one question for me: Is the Vinyl Revolution sustaining itself, or was it a flash-in-the-pan, a mere marketing myth?

“No, sir – it’s doing really well. But it is not without problems.”

“How so?” I asked.

“We get a lot of customers coming back saying their records won’t play. So, we look at them and they’re scratched to hell, covered in food, liquids, whatever. They think they’re like CDs, and that you can wipe ’em off.”

What this reminded me of were the myriad expletives I’ve uttered upon curating tapes which were owned by idiots. Some of you will say that’s not fair, but I must express my dismay at the treatment of tapes which always cost more than LPs, and the users I’m cursing do not have the passage of time as an excuse: they owned them from new. As for the “kids” turning up in record stores with ruined LPs, they simply didn’t know any better because they never experienced vinyl records, or perhaps their parents might have been just as innocent – not a stretch when you consider that CD has been with us for 39 years.

I’ll save the catalogue of tape horrors for another column, but I wanted to use the ignorance of vinyl etiquette as an indicator of my own unawareness of certain open-reel-tape-related matters, and not just the host of unfamiliar labels or artists. This latest revelation came about because of a logo, which caused me to swiftly post a high bid on eBay to secure a pile of tapes, which included five from Voice of Music.

Blame my father for this. He owned a Voice of Music 700 half-track mono all-tube deck (which you can observe him using in Part One of this series, in Issue 146). I hadn’t seen it since the late 1960s, and have no idea what became of it, but I remember it as vividly as our Electrolux vacuum cleaner. The manufacturer is long gone, but it’s supported by a website worth visiting if you’re fascinated by brands lost in the mists of time. (https://www.thevoiceofmusic.com)

When the pile of 5-inch-spool tapes appeared on eBay, among them five with “The Voice of Music” emblazoned on their covers and the burned-into-my-memory-banks V-over-M logo and – more enticingly – four with the legend “The Voice of Music Stereo Tape Library” and one a demo tape with “Not For Resale” on the back, I couldn’t stop myself. By this stage in my return to open-reel tape, I had acquired demonstration tapes and samplers from RadioShack, Ampex, Bel Canto, Capitol, Columbia, and other record labels or hardware manufacturers, tapes with Tandberg’s participation, etc., so why not Voice of Music?

 

 

How the Voice of Music tapes will appear on KK’s shelves.

 

Before playing them, I went through the usual procedure with each one of adding leader tape, fast-forwarding the tape, adding a tail and returning it to its spool in the speed at which it would play. All were 7-1/2 ips 1/2-track tapes, but – unlike LPs and yet unfortunately a condition all-too-common with open-reel-tapes – there were no dates to reveal their vintage.

I started with the sampler, titled Pleasure’s New Sound, with the tempting subtitle, “A Thrilling Demonstration of Stereophonic Sound.” The recordings included spoken introductions and sound effects, with music ranging from easy listening to a taste of Tchaikovsky’s 1812 Overture.

Because I’m anally-retentive, a completist who must own everything by an artist or author, I was dismayed to find that the other four comprised Volumes 1, 2, 4, and 5 of the aforementioned Voice of Music Stereo Tape Library. As Voice of Music’s otherwise-comprehensive website doesn’t yet carry a list of the titles that were issued (and I saw one or two more online), I have no idea what the missing Vol. 3 contains. [Note: I am now in contact with the website, and will report back if a list is forthcoming.]

As for the other four, Vol. 1 is titled Silk Satin & Strings, performed by Wayne Robinson and His Orchestra, with standards such as “Jalousie” and “From This Moment On.” Vol. 2, Big Beat With Mike, gives us Mike Simpson and His Big Band delivering “Cherokee,” “Take the ‘A’ Train” and others. The Musical Arts Symphony Orchestra conducted by Leonard Sorkin performs on Vol. 4, Symphony of Dance, with compositions from Bizet, Rimsky-Korsakov, Glière, and Sibelius. Lastly, Vol. 5, Christmas In Stereo, finds Sorkin again, this time conducting the John Halloran Chorus and the Sorkin Strings, with five seasonal selections.

So far, so good. The boxes were intact, the tapes properly spooled and playing through without snapping when I gave them their initial cleaning. Time to sit down and listen. Feverishly, I threaded the demonstration tape onto my TASCAM 22-2 1/2-track deck. The sound was nothing short of spectacular, as good as the early Jackie Gleason tapes on Capitol, or any of the other 1/2-track 7-1/2 ips in my experience. “Dazzling” doesn’t begin to describe the clarity, fidelity, transient attack or spatial concerns. But something was seriously amiss.

Way back when – 1973 to be precise – Sony or someone else promoting quadraphonic sound issued a 4-channel open-reel demo tape to stores which featured two marching bands fighting each other, performing different material, one band in the front channels, the other in the rear, all the better to convey the surround experience. I was working in a store in Bangor, Maine, and we played it enough times to tire of it, the problem being the disparity in two competing bands, an issue that had nothing to do with truly discrete four-channel sound via a 4-track tape deck, because quadrophonic sound worked perfectly in that format, however much it failed on when “matrixed” onto an LP.

What reminded me of this battle of the bands, and how their disparate performances were so confusing, was a time lag between the right and left channels on the Voice of Music tapes. I thought I had a pretty good handle on open-reel terminology, and knew that “stacked heads” were the same as “in-line heads” or that 4-track and 1/4-track aren’t the same thing. But nobody told me about “offset” or “staggered” heads. Those of you familiar with the format, please bear with me and try not to laugh.

Of course, a quick Google revealed all, how staggered or offset heads formed a short-lived, early stereo format. Prior to the arrival of conventional (a.k.a. stacked or inline) stereo heads, machines could be converted from 2-track mono layouts (like my dad’s 700) to stereo with a second “staggered” head installed next to the original mono head. These addressed the lower half, or track of the tape. They were not, however, aligned in time.

What I was hearing from the Voice of Music tapes via my TASCAM was the 0.167 ms delay between one channel and the next, and it was just enough to drive the listener crazy, like watching a DVD or Blu-ray with slightly out-of-sync dialogue. It was breaking my heart, because – delayed channel notwithstanding – the sound was breathtaking. The bad news was the scarcity of machines from (roughly) 1954 – 1957. But even if I was predisposed toward finding one, it would have been a waste of money. Seriously: Why would anyone buy a tape deck just to play five tapes?

But God bless the advice of the tape geeks! One solution is to record the tapes onto one’s computer and sort out the channel delay with software. Even better was an example of lateral-thinking, which suggested playing them on an Otari MX-5050 and monitoring one channel from the playback head and one from the record monitor head. Apparently, the spacing is precisely the same as those on a deck with offset heads.

Either that, or find myself a Voice of Music 714.

 

Voice of Music Model 714 tape recorder control panel showing its "Staggered/Stacked" switch. From Reel-Reel.com.

Voice of Music Model 714 tape recorder control panel showing its “Staggered/Stacked” switch. From Reel-Reel.com.


Spring Is in the Airwaves

Spring Is in the Airwaves

Spring Is in the Airwaves

Frank Doris

A pair of ultra-rare circa 1970s KA/Kustom Acoustics loudspeakers, model number unknown, spotted at Angry Mom Records in Ithaca, NY. KA was based in Chicago and is not to be confused with the Kustom, the musical instrument amplifier and pro audio company.

 

The Kustom Acoustics logo. Photos courtesy of Howard Kneller.

 

If you were a musician in the 1970s, this was one of the many Kustom amps you saw, or maybe owned. Dig that tuck and roll!

 

We have no idea what this has to do with audio, but it sure looks cool. Philips Radio ad commemorating the 1948 Winter Olympics.

 

Spring is Motorola portable time! Get ready! Motorola ad, 1950s.

 

Howard Kneller’s audio and art photography can be found on Instagram (@howardkneller@howardkneller.photog) and Facebook (@howardkneller).


Disconnect

Disconnect

Disconnect

James Whitworth

Speak, Friend, and Enter

Speak, Friend, and Enter

Speak, Friend, and Enter

Rich Isaacs
A church entrance in Stow-on-the-Wold, England, that our guide said was the inspiration for the entrance to the Mines of Moria from The Lord of the Rings. We were told that J.R.R. Tolkien used to sit in the churchyard and write.

Who's Afraid of the Big Bad Wolf?

Who's Afraid of the Big Bad Wolf?

Who's Afraid of the Big Bad Wolf?

Don Kaplan

Many listeners avoid 20th-century classical music: they associate it with compositions that are aggressive, clamorous, dissonant and, in general, irritating. They don’t like the atonal or 12-tone (dodecaphonic) music that dominated the second half of the century. And they avoid composers who have a reputation for writing “difficult” works. As a result, listeners don’t explore pieces they might enjoy that were written during other periods of a composer’s life, or investigate pieces similar to ones they already appreciate.

To use a hypothetical example from art history: maybe you’ve been avoiding Picasso because you don’t relish paintings from his Cubist period. You might prefer less-abstract works from his Blue Period where subjects are dominated by different shades of blue, or the circus world of his Rose period. Don’t adore any of these? Try the Vollard suite with a Minotaur theme. Don’t like Minotaurs? Consider Picasso’s earliest, most traditional works. If you like those, don’t stop there: try exploring art from his neoclassical period.

Listeners can approach some 20th century music the same way. Composers’ works are often classified into periods and styles, and the few pieces that have become famous don’t necessarily represent a composer’s entire output. The same composer with a “difficult” reputation might have, at a different time, developed musical ideas you would find intriguing, and compositions that are emotionally satisfying.

Prokofiev: Enfant Terrible

Most critics would agree that Prokofiev’s best-known piece is Peter and the Wolf (1936). This composition for children is lyrical and charming, has wide appeal, and has been narrated by a wide variety of people including Jacqueline du Pré, Sophia Loren, Leonard Bernstein, Alice Cooper, David Bowie, Mikhail Gorbachev, Sting, Peter Ustinov, Sean Connery, Lorne Greene, Boris Karloff, and Viola Davis.

In contrast to the likable Peter, Prokofiev was referred to as an “enfant terrible” partly because he was arrogant (he could be rude and insulting, and as a student, criticized others but rejected criticism of his own works); partly due to the spiky, aggressive style of his music. [1] However, Prokofiev wrote in a variety of styles through several periods, culminating in a style that was a blend of traditional tonal and melodic means, dissonant harmonies, aggressive approaches, and the innovations of 20th-century music. Some of the most popular compositions that contradict his “terrible” reputation include Symphony No. 1 (Classical Symphony), Piano Concerto No. 3 (the last movement has one of those lyrical themes that sticks in your mind), Symphony No. 5, the two violin concertos, several ballets (including the often overlooked The Stone Flower), and the Lieutenant Kije suite. [2]

“Who’s Afraid of the Big Bad Wolf?” (audio) You don’t have to be intimidated by Peter’s wolf or 20th-century music. Prepare for your encounters by smiling along with Barbra Streisand’s rendition of “Who’s Afraid of the Big Bad Wolf?” from her first LP, The Barbra Streisand Album (1963).

 

Symphony No. 1 (video) Paavo Järvi conducts the very classic and melodic “Classical” Symphony No. 1 with the Philharmonia Orchestra.

 

Piano Concerto No. 3 (video) This video was recorded at the Singapore International Piano Festival in 2018 in front of an ecstatic audience and featuring a fabulous, percussive performance by pianist Martha Argerich. Don’t miss this one!

 

Violin Concerto No. 1 (video) Midori performs an exciting, dramatic, and colorful interpretation of the composer’s first violin concerto. And, if you enjoy hearing where our new artists are coming from, check out Gil Shaham playing the same composition with the National Youth Orchestra 2 (NYO2), an orchestral training program for talented young instrumentalists ages 14 – 17 created by Carnegie Hall’s Weill Music Institute.

 

Stravinsky: Madman

During its 1913 premier, The Rite of Spring caused a riot. Puccini later called the ballet “the work of a madman” and an anonymous writer expressed a similar opinion in a letter to the Boston Herald:

Who wrote this fiendish Rite of Spring,
What right had he to write the thing,
Against our helpless ears to fling
Its crash, clash, cling, clang, bing, bang bing?

And then to call it Rite of Spring,
The season when on joyous wing
The birds melodious carols sing
And harmony’s in everything!

He who could write the Rite of Spring,
If I be right, by right should swing!

If you’ve avoided Stravinsky’s music based on this ballet, you’ve missed many works you might enjoy. The Rite doesn’t have much in common with compositions from other periods of his life (Stravinsky said it “was guided by no system whatever”) and he is, in fact, considered to be a neo-classic composer. [3] Stravinsky’s two other early ballets for ballet impresario Diaghilev and the Ballets Russes (The Firebird and Petrushka) are colorful and melodic, closer to the Romanticism of Stravinsky’s teacher Rimsky-Korsakov than the “crash, clash, cling, clang, bing” of his third ballet.

Stravinsky’s works are characterized by their unique timbres, constantly shifting rhythms, lean orchestrations, dissonant harmonies, and cool detachment – a style that influenced the way later composers used rhythm and form. Stravinsky’s last period consisted of dodecaphonic works that, despite being based on atonal 12-tone techniques, still sound like Stravinsky.

Recommended compositions: Pulcinella (ballet), Oedipus Rex (oratorio), Les Noces (based on the texts of Russian village wedding songs), Symphony of Psalms (choral symphony), the jazzy and rhythmically driven Capriccio for Piano and Orchestra, The Soldier’s Tale (mixed media – considered avant-garde at the time), The Rake’s Progress (a mock-serious pastiche of late 18th-century grand opera), and Symphonies of Wind Instruments.

Capriccio for piano and orchestra (video) A terrific performance of the “Rubies” portion of the Jewels ballet choreographed by George Balanchine and danced here by Diana Vishneva.

 

Circus Polka for a Young Elephant (audio) Elihau Inbal conducts the Philharmonia Orchestra in a piece written for the elephant ballet of the Barnum & Bailey’s Circus. The piece was later choreographed by Balanchine.

 

Symphony in Three Movements (video) Recorded at Skidmore College’s Mostly Modern Festival, this is a sharp, driven performance that sounds even better than some of the “name brand” recordings.

 

Maurice Ravel: The Great Impressionist

Whether you’ve heard it in the film 10 or someplace else, most listeners are familiar with Bolero. Ravel, however, wasn’t a fan of his own composition: He considered it trivial and once described Bolero as “a piece for orchestra without music.” [4] Ravel said:

“It constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before its first performance, I issued a warning to the effect that what I had written was a piece lasting seventeen minutes and consisting wholly of ‘orchestral tissue without music’ – of one very long, gradual crescendo. There are no contrasts, and practically no invention except the plan and the manner of execution.” [5]

Bolero, originally a ballet score, is much more accomplished than Ravel’s warnings imply. If you watch and listen closely you’ll find rich sounds, constantly changing dynamics, and a variety of wonderful orchestral colors while the musicians practically dance to the music on the way to its conclusion.

Ravel and Debussy were the defining composers of Impressionism and many critics claim Ravel was influenced by Debussy. However, Ravel claimed he was much more influenced by Mozart and Couperin (whose compositions are very structured) and influenced by world music including American jazz, Asian music, and traditional European folk music. In keeping with the French school of music, Ravel’s melodies are almost exclusively modal instead of using major or minor scales.

Recommended compositions: Like The Rite of Spring, Ravel’s Bolero is an anomaly. There’s a wide variety of other compositions to enjoy including: the impressionistic ballet Daphnis et Chloé, suites (e.g., Ma mère l’oye), one-movement dance pieces (e.g., La valse), re-styled dances (e.g., Pavane pour une infante défunte and Le Tombeau de Couperin), the captivating Piano Trio, two jazzy piano concertos (including the Piano Concerto for the Left Hand), several short orchestral pieces like La Valse, many piano works, the violin sonatas and, of course, the beautiful Schéhérazade with orchestra and vocal soloist. [6]

Bolero/Lorenzo Viotti conducting the Münchner Philharmoniker (video) Expressive players and conductor, a sharp performance, and some nice scenery make this video special.

 

Daphnis et Chloé/Charles Munch conducting the Boston Symphony Orchestra (audio) A classic, lush-sounding performance from the RCA Living Stereo series. This is often considered to be the best-recorded version.

 

Daphnis et Chloé/Pierre Boulez conducting the Berlin Philharmonic Orchestra (audio) Not enough time to listen to the complete ballet? Start at the end (“Troisième partie – Danse générale”) with Pierre Boulez conducting the Berlin Philharmonic in a transparent-sounding and exciting performance.

 

Piano Concerto in G Major/Philippe Jordan conducting the Gustav Mahler Jugendorchester with Jean-Yves Thibaudet, piano (video) Jazzy outer movements with a tranquil second movement and superb performances by all.

 

Arnold Schoenberg: The Revolutionary

Read the name Arnold Schoenberg and 12-tone music comes immediately to mind.

Schoenberg’s 12-tone method of composition grew out of post-Romantic music that had become extremely complex with huge blocks of sound. Convinced that this music couldn’t develop any further, he started composing using atonal motifs. This led to organizing notes into rows of 12 without relationships to each other and without tonal centers, a composition technique Schoenberg viewed as revolutionary because it was different from any music previously composed.

During the composer’s pre-revolutionary period, he wrote the symphonic cantata Gurrelieder for five soloists, narrator, four choruses, and large orchestra that pushed chromatic writing to extremes but was still within the limits of tonality. It’s engrossing, sometimes moving music that can be especially appreciated by listeners who enjoy the large works of Richard Strauss (before he reverted to a more conservative style), Mahler, and Wagner. The other work suggested below, Verklärte Nacht (in its original string quartet version) is lyrical and expressive without a tone row to be found.

As the old Alka-Seltzer ad said: “Try it, you’ll like it.” If you do like it, you might want to explore some of Schoenberg’s other early and transitional works.

Gurrelieder Part 13: “Waldemar: Herrgott, weisst du, was du tatest”/Riccardo Chailly conducting the RSO (audio) This is the best performance on CD and has the best sound, spoiled somewhat by a change of perspective from disc 1 to disc 2.

 

Verklärte Nacht/The Quatuor Ebène (with additional players) (video) A terrific quartet playing a listener favorite, usually heard in its orchestral version.

 

John Cage and the Sound of Silence

Cage’s most (in)famous musical composition is 4’33″, which refers to four minutes and thirty three seconds of silence. It can be performed any time. Any place. By any number of people. It doesn’t even have to last for four minutes and 33 seconds because there isn’t an indication in the score of how long a performance should be. 4′33″ was first performed in 1952 and quickly became controversial because it consisted of silence or, more accurately, ambient sounds – what Cage called “the absence of intended sounds.” Sounds like a cough during a concert. The rustle of a paper program. The air conditioning. A member of the audience shifting in his or her seat. The sound of a musician’s foot moving on the stage floor.

Cage’s early period involved writing dodecaphonic music in the style of his teacher Schoenberg, but by 1939 he had started to experiment with unorthodox instruments to go beyond conventional Western music. He invented the “prepared piano” by placing pieces of chalk between the piano strings to create special effects, [7] and eventually regarded all kinds of sounds as musical. Cage encouraged audiences to focus on all types of sonic phenomena rather than just those elements chosen by a composer, and pioneered “indeterminism” in his music. To ensure randomness and eliminate any element of personal taste on the part of a performer, he used a number of devices including unspecified instruments and numbers of performers, unfixed duration of sounds and entire pieces, inexact notations, and sequences of events determined by random means.

Cage was one of the most influential composers and theorists of the 20th-century and changed the way people think about music. You can read more about Cage in his two books, Silence, and A Year from Monday.

4’33″/Kirill Petrenko conducting the Berliner Philharmoniker (video) One of the world’s greatest orchestras plays silently, and the site includes some entertaining YouTube listener comments.

 

Sonatas and Interludes for Prepared Piano/Maro Ajemian, piano (audio) A sample of Cage’s non-traditional sounds incorporated into his compositions.

 

[1] Prokofiev graduated from the St. Petersburg Conservatory in 1914 with performance degrees in piano and conducting, and won first prize at his exams by playing his own Piano Concerto No. 1 (1911). His second piano concerto (1912), as clangorous and dissonant as the first, helped establish his reputation as an enfant terrible.

[2] Prokofiev and Stravinsky were friends although Prokofiev didn’t enjoy Stravinsky’s later works. Stravinsky modestly described Prokofiev as the greatest Russian composer of his day, after himself.

[3] Neoclassicism was a twentieth-century movement especially popular during the interwar period. Composers who were part of this movement sought a return to aesthetic principles associated with the concept of “classicism,” namely order, balance, clarity, economy, and emotional restraint.

[4] New World Encyclopedia

[5] From a newspaper interview with The Daily Telegraph in July 1931.

[6] Not to be confused with the equally beautiful Scheherazade by Rimsky-Korsakov.

[7] Don’t try this at home, especially with cured meat.

 

Header image: Arnold Schoenberg, self portrait, 1910.


Francisco Guerrero: Catching On Again, Five Centuries Later

Francisco Guerrero: Catching On Again, Five Centuries Later

Francisco Guerrero: Catching On Again, Five Centuries Later

Anne E. Johnson

The Spanish composer Francisco Guerrero (1528 – 1599) might be nearly unknown outside of early-music and choral circles, but his name keeps popping up on albums over the past couple of years. It’s gorgeous music, and well worth recording. There are a couple of new albums dedicated entirely to his work, and a bit of digging also unearthed individual Guerrero tracks on many recent larger collections. Maybe he’s catching on.

Although Guerrero grew up and died in Seville, he did not spend his whole life in that one town. As a young man he won a coveted position as music director of the cathedral in Jaén, Spain. It surely didn’t hurt that he was a protégé of Cristóbal de Morales, one of the most revered Spanish composers at the time. Guerrero also worked in Italy for a while. Much in demand as a singer, he enjoyed employment as both a performer and a composer. But his sense of adventure turned out to be just as valuable as his musical skills: in 1589, he visited Jerusalem, and on the way home was attacked twice by pirates. He turned the memoir of that pilgrimage into a bestselling book.

The newest Guerrero recording is by his latter-day fellow Sevillians in the A5 Vocal Ensemble. Ave Virgo: Works for 5 Voices by Francisco Guerrero, self-released by A5, draws pieces from four of the composer’s collections published between 1555 and 1589. The liner notes explain that many selections from the last book were actually written decades before as part of Guerrero’s duties at the cathedral; he only bothered to publish them belatedly because he found sloppily notated versions of them being passed around Seville.

Ave Virgo includes six sacred songs that have never before been recorded, which was reason enough to make this album. The five singers in A5 are joined by organist Juan González Batanero, who plays a small organ that sounds almost like a recorder choir, not the massive, installed pipe organ that we think of as standard in churches today; that larger instrument was not yet in common use in the 16th century. Nor does Batanero provide chordal accompaniment during the singing. Again, that would be anachronistic. Instead, he plays occasional melodic lines in answer to the vocal lines, as if his instrument were only another voice. Two of the tracks are works transcribed for organ alone, which was a common practice at the time.

The singers in A5 are not five of the purest or best voices in the early-music business. Their vibrato and fluttering can be a distraction. But their intonation is reliable, and they understand the nuances of late-Renaissance rhythm in vocal polyphony. Take the sacred song “Alma si sabes d’amor” (Soul, if you know of love), one of the early pieces transcribed in Guerrero’s final published collection. He has clearly been influenced by the proliferation of Italian and Franco-Flemish madrigals that had taken over the music scene at mid-century. A5 does a good job of keeping the forward motion of the lines, not getting bogged down in the complexity of the counterpoint.

 

Another recent album dedicated to Guerrero is conducted by Peter Phillips, a veteran British specialist in early vocal music best known as the founder of the Tallis Scholars. This Hyperion release, Magnificat, Lamentations, and Canciones, features the Spanish ensemble El León de Oro (The Golden Lion). Besides the works for five voices, they have included some with eight parts, one for all men’s voices, and one for double choir (two sets of four parts).

The singers are all top-flight, and Phillips brings to bear his deep understanding of polyphonic textures. Credit must also be given to Marco Antonio Garcia de Paz, who is the usual director of El León de Oro, who prepared his group to take advantage of the visiting expert. Unfortunately, there are no free platforms offering these tracks, but you can sample all of them at this link.

Guerrero has also shown up as a guest on a handful of other records lately. The British group Apollo 5, releasing via the Voces8 Foundation, included three Guerrero sacred songs on their album Where All Roses Go.

Their “Virgen Sancta” lacks the precision of El León de Oro, and the voices are breathier and less supported. But the passion of Guerrero’s intertwined lines, often conspiring to form aching dissonances, still comes through powerfully.

 

A track by Guerrero also appears on Salve, Salve, Salve: Josquin’s Spanish Legacy, by another British group, Contrapunctus, conducted by Owen Rees on Signum Records. Josquin des Prez, whom I’ve written about previously for Copper (in Issue 132), was a Franco-Flemish composer, mainly working in Italy. He practically reinvented vocal counterpoint, particularly in terms of emotional expression. His innovations helped usher in the last stages of the Renaissance in music, influencing many composers. Guerrero was certainly among them.

Contrapunctus has a rich density and an approach to sound production that gives them more of an atmospheric texture – a wall of sound, if you will – than the intimate coverage of individual voices that most small-group recordings try for nowadays. It’s an approach associated with previous decades, but it also represents accurately what one hears when listening to this music performed live in a church.

 

Speaking of British early-music recordings with a 1990s sensibility, another small but important contribution to the worldwide Guerrero treasury was recorded in 1993 but didn’t come to light until recently. It’s a single track among more familiar names on the Cambridge Singers’ release A Banquet of Voices. The choir’s famed director, John Rutter, pulled the record out of circulation 29 years ago because he got hung up on the attribution of one the pieces. It became a musicological blind spot for him, and he decided he’d rather put the whole project in mothballs than publish something incorrect. He finally released the album in 2020, with an apology for his stubbornness. We’re lucky he did: the Guerrero work, “Duo Seraphim,” is breathtaking, especially in its changing articulation as the composer drifts from one style to another.

 

Despite this list of single tracks and single albums, it should be noted that there has been one major multi-disk Guerrero project in the 21st century. The extraordinary series of Guerrero recordings on the Enchiriadis label, started in 2003 by the Danish vocal ensemble Musica Ficta, does not represent his complete works, but it comes closer than anyone else has. For its 3-volume set Villanescas, based on Guerrero’s 1589 publication, Musica Ficta is joined by the instrumental group Ensemble Fontegara. Director Raúl Mallavibarrena does a beautiful job phrasing the voices and instruments fluidly, bringing the musical tapestry to life.

 

The whole Musica Ficta series is available in hi-res on Qobuz, and I strongly recommend it.


Yusuf/Cat Stevens: Soundtrack of the Seventies, Still Vital Today

Yusuf/Cat Stevens: Soundtrack of the Seventies, Still Vital Today

Yusuf/Cat Stevens: Soundtrack of the Seventies, Still Vital Today

Anne E. Johnson

His folky, insightful songs, brimming with humor and pathos, helped create the soundtrack to the 1970s. And then Cat Stevens left the field, changing his name and devoting himself to a religious life. He’s back, though, and he seems to want listeners to acknowledge both his spiritual life and his musical legacy. So, he now calls himself Yusuf/Cat Stevens, and at age 73, he keeps on singing.

The London native was born Steven Georgiou, growing up in the family restaurant and the flat above it. That flat contained a piano, which young Steven figured out how to play. While considering a career in visual arts, he absorbed everything he could about songwriting from Simon & Garfunkel and Bob Dylan albums, got a guitar, and made up a cool stage name.

He was discovered by industry R&D while gigging at London coffee houses, and he signed with the British label Deram. The title track from his 1967 debut, Matthew and Son, reached No. 2 on the UK charts. The sweet, bouncy sound and the goofy, skiffle-meets-music-hall arrangement of “I See a Road” presents a rare snapshot of Cat Stevens before he quite figured out what he wanted to say.

 

The label executives wanted to make Stevens a mainstream pop star, but sales of his second album, New Masters, fell flat. Ironically, at the same time his album was failing, he sold his song “The First Cut Is the Deepest” to P.P. Arnold for a few quid, and she had a smash hit with it. Then tuberculosis took him out.

During his convalescence, he wrote. And wrote and wrote. Once he was better, he brought his pile of new songs to a new label, Island Records. The albums he made in 1970 provide a two-volume textbook on who Cat Stevens is as a songwriter.

First, there’s Mona Bone Jakon, on which he introduces his bare-bones acoustic sound. Among his small backing band is guitarist Alun Davies, who stuck with him throughout the 1970s. The haunting song “Katmandu” features Peter Gabriel on flute.

 

The second 1970 album was Tea for the Tillerman. Today, Tillerman is considered essential Cat Stevens, but when it came out it didn’t get much attention. That changed in 1971, when Hal Ashby’s movie Harold and Maude came out. The soundtrack didn’t just use songs from Tillerman, but worked them into the story. Suddenly “On the Road to Find Out” and “If You Want to Sing Out, Sing Out” signified the individual freedom of youth and the righteous defiance of conservative expectations. Teaser and the Firecat came out that same year, and with the listening public already focused on Stevens, they devoured his singles that spoke perfectly to their time: “Morning Has Broken,” “Moonshadow,” and “Peace Train.”

Catch Bull at Four was released in 1972. By this point, the song arrangements had grown back to pop proportions, with Stevens playing about half the instruments himself. But Stevens was moving forward, not backward, and the role of music in his life was changing. The interplay of Stevens’ songwriting and his spirituality is hinted at in the title: Catch Bull at Four refers to one of the ten stages of progress toward Zen enlightenment. Stevens had not yet found his spiritual path, but he was clearly searching.

“Boy with a Moon and Star on His Head,” simultaneously delicate and earthy, is a ballad with fantasy elements. It also demonstrates how Stevens knew how to control the many sounds available to him. Mostly, it’s just acoustic guitar, but on certain syllables or phrases he adds bass drum crashes or synthesizer tones. The highlight of the arrangement is at 2:58, when he mentions a social gathering, and suddenly, out of nowhere, there are four bars of what sounds like music for a medieval banquet.

 

As if to counteract the popular success of his previous two albums, Stevens debuted as a producer while going down a rabbit hole on Foreigner in 1973. The entire first side was something that might be described as prog rock folk, the 18-minute “Foreigner Suite.”

The following year he returned to an area that Island Records was more comfortable with for Buddha and the Chocolate Box. The American music-buying public agreed, catapulting it to the No. 2 spot on the charts.

Stevens has never been one to let sales take over his creative output. Yet, unlike some artists of his era, the majority of his fans weren’t willing to join him on his more exotic creative journeys. Numbers showed a huge drop-off in sales; the folks who grooved to “Moonshadow” weren’t keen to delve into a science fiction concept album subtitled “A Pythagorean Theory Tale.” The Numbers album offers one oddity after another, but it’s fun, as witnessed by the humor and environmental prescience on display in “Banapple Gas”:

 

Having converted to Islam and changed his name to Yusuf Islam, he made one more album as Cat Stevens, Back to Earth (1978). Then he left the music scene altogether, and it looked like it might be permanent. For the next 20 years, he only hit the American news cycle because of controversial comments he made about the Muslim fatwa against novelist Salman Rushdie in 1989. The UK press hounded him for years, and he ended up pursuing several libel suits.

When music is in a person’s soul, profound changes in their life tend to find their way out in musical expression. That’s just what happened with Yusuf Islam; in 1998 he was back in the studio, albeit with a very different sound. In 1998 he contributed two songs to I Have No Cannons That Roar, a project dedicated to the memory of a Bosnian surgeon and composer shot down by Serbs.

Then he made Footsteps in the Light in 2006. For three decades he had been steeped in Arabic music and had also been creating songs for children, some of which are included on this album. The track list comprises songs he’d been writing since his second greatest-hits album, Footsteps in the Dark came out in 1986.

The harmonies and melodic styles might be new, but he was still poetically fascinated by the moon. “The White Moon” is a duet with Ben Ammi, who also adapted the Arabic lyrics.

 

Shortening his name to Yusuf, the songwriter surprised a lot of people by releasing Tell ‘em I’m Gone in 2014 on Legacy Records, co-produced by himself and Rick Rubin. Its songs, while showing the emotional maturity of age, harken back to the style of his 1970s work. Yusuf’s earnestness in tracks like “I Was Raised in Babylon” brings to mind Bob Dylan’s Infidels record.

In 2017, now using the combined name Yusef/Cat Stevens, he released The Laughing Apple. Much of that album is a re-release of material recorded before his debut album in 1967. Paul Samwell-Smith, who came to fame as the bassist of the Yardbirds, co-produced. There are also a few songs never before recorded, including “Olive Hill,” which is very much in the style of his late-1960s work.

 

Yusuf’s most recent work includes Tea for the Tillerman 2, a 50th-anniversary homage to his 1970 masterwork, with new arrangements of all the songs. There’s also a 2021 deluxe box set of material to celebrate the 50th anniversary of Teaser and the Firecat. That includes a remastering of the album, dozens of unreleased tracks, a Blu-ray concert, and two books. Nostalgia sells; some of it, such as an old Cat Stevens record, is well worth the price.


My First Speakers

My First Speakers

My First Speakers

Jack Flory

As promised back in my article, “Shop Class” (Issue 151), it was time to build some speakers. I had already built a preamp from a Popular Electronics article, but had no way to really use it. Here’s how the odyssey of my personal audio addiction began.

The fall of 1970 was a rude awakening in my young life. I moved into Aden Hall at the University of Colorado and found myself face to face with some of the craziest people I had ever seen. I had grown up quite sheltered by my family and my rural environment. There was no such thing as diversity in my high school. The first time I had ever heard of marijuana was when I was a junior, and a senior got busted for having it in his locker. No one in my class knew what it was, but now that I was in college I was surrounded by all the above and a whole lot more.

 

Some of the crazy residents of Aden Hall in 1970. The author is second from left in the rear. You can see from the hairstyles that we were well represented by California and the Northeast. Many of us left freshman year with more hair than this. Why invest in haircuts when you could buy pizza and avoid the horrendous dorm food?

 

Sometimes you just needed a break from all the craziness of the university atmosphere. To amuse ourselves on an afternoon when we didn’t have classes, we’d often mount an expedition to the University Hill district, also known as The Hill, which was on the opposite side of campus from the dorm.

The first stop was usually at Jones Drug and Camera to drop off film to be processed. Jones was right on the corner after you left the campus and crossed over Broadway, and was the home of all things Nikon. That’s where the trouble usually began, because then it was time to run the gauntlet. The sidewalks were full of transients leaning up against the buildings. No, not the transients you read about in circuits analysis class. These were street people, and these were the years the people of Boulder now affectionately refer to as the counterculture years. There were so many street people, they were like flying buttresses holding up the walls of the cathedral of merchandising. Every one of them would try to sell you some illicit substance. This egregiously aggravated the merchants, as this area was formerly the domain of the fraternity houses, and customers with money to spend were being blocked from entering the shops by the aggressive nature of the transients, or maybe just the smell. It was all bad for the area’s traditional businesses. Of course, some enterprising new businesses sprang up, such as a custom clothing shop for women, where tie dye bedspreads were turned into dresses for earth mothers.

The city tried to clean all this up in 1971, but probably ended up making the counterculture revolution persistent in Boulder even to the present day. How did they decide to clean it up? Bring in the storm troopers and smash some heads. The Riot of ’71 happened, leaving many businesses in shambles. Jones Drug and Camera put bars on the windows, making it look more like Jones Drug and Jail. The Colorado Bookstore had beautiful two-story windows that were simply bricked in. This was the first time that 18-year-olds were eligible to vote, and it all changed the political landscape of Boulder forever. But I digress.

Once we got past the transients, we’d take a right on 13th Street and duck into the Round the Corner restaurant. They had really great burgers at good prices even if the atmosphere was a little Pavlovian. It was perfect for students on an allowance. There was no table service and tipping was forbidden. You sat at a table in a booth with a telephone. Using the telephone, you placed your order and when it was ready, the telephone would ring. Everyone immediately began to salivate and tablemates were dispatched to fetch the food and beverages. My favorite was the mushroom Swiss burger with sour cream sauce. Yum!

Now with a full belly, the next stop was Albums on the Hill, a funky vinyl shop back then that still exists today. Occasionally they had live music. We spent a lot of time there auditioning albums, rarely buying anything. None of us in the dorm had a turntable.

 


Albums on the Hill, Boulder, Colorado. From bouldercoloradousa.com.

 

Then it was off to mumse the salesman in the audio store a few doors down. They had some nice gear. They usually weren’t busy and we could get away with spending a good amount of time there learning about hi-fi. The salesman was great and spent a lot of effort educating us. The owner, on the other hand, wore underwear that was too tight. They sold Marantz electronics, Bose, AR, and Dodecahedron speakers. It was the era of swag lamps and shag carpets, and many people thought the Dodecahedrons were pretty cool.

The part that interested me most was that they sold kits to build your own speakers. They came with a complete set of plans, along with the drivers and crossovers. You just built the boxes, installed the components, and added the finish of your choice. Simple. After pondering this possibility for a while and determining I didn’t have the woodworking skills or funds to build the Dodecahedron rip-offs, I purchased a kit that had two 12-inch woofers, two midrange horns, two dome tweeters, and crossovers. I remember paying $125 for it. I had the components shipped back home.

The Hill basically had two watering holes, The Sink, and Tulagi. The common belief at that time was that 3.2 percent beer was too weak to get drunk on; however, there was a certain contingent that did their best to prove those believers wrong. We had one resident in the dorm who came home from The Sink wearing the toilet seat around his neck. Another night, I needed to use the communal restroom, which was down the hall from my dorm room. I couldn’t get in. It was full of road barricades with blinking yellow lights. Yep, same perp. The campus police weren’t amused with his prank and read him the riot act. They confiscated the barricades and left him to think about how much trouble he could have been in. It didn’t sink in. With that reputation in mind, we tended to avoid The Sink, as we had a higher calling. We were questing for live music.

Instead of The Sink, the last stop on our expedition was often Tulagi. It’s often been described as an urban roadhouse. Booking manager Chuck Morris was learning the ropes of concert promotion and brought a lot of good acts to town. Zephyr played there a lot. Tommy Bolin, Bonnie Raitt, Linda Ronstadt, and ZZ Top played there. Stephen Stills lived in the foothills above Boulder and was known to frequent Tulagi. You could always tell when he was in town as he drove a canary yellow Mercedes Unimog. And, you may have heard about a band named Eagles that rehearsed there to get their act together before striking out on tour.

You could often drop in at the Tule and catch a band rehearsing or doing a sound check, and there would be no admission charge during the day. Well, not exactly. They sold Coors by the glass and it was 25 cents a draft, perfect for that student budget, even if it was just 3.2 beer, and that’s how we paid for admission.

 


Tulagi. From the Elevations Credit Union website.

 

That was usually the end of our expedition. We’d take the long way back to the dorm to avoid the transients, after having had a nice afternoon, occasionally stopping at The Spoke bicycle shop to practice our jaw-dropping exercises.

At the end of the school year, I went back home to build the speakers with the components waiting for me. I was promptly ushered off to the barbershop for a haircut and then led through the Inquisition by my parents about having purchased the speaker kit.

The first step in constructing the speakers was to recruit my father’s friend Carl, who had a nice woodworking shop in his basement. He agreed to help, so I purchased the plywood needed to build the cabinets, loaded it into the pickup truck, and we headed over to his house. Carl took a good look at the plans and a scowl came over his face. The plans didn’t allow for the width of the saw kerf, so we had to recalculate all the dimensions. I got yelled at for that one also by the old man.

We went home and I assembled the speaker boxes, adding some insulation for sound damping. I had no idea how to work with wood veneer at the time, so I covered the boxes with wood-grained Formica, which was readily available and cheap. Contact cement and I weren’t good friends, so the Formica eventually delaminated, but I learned a lot.

When everything was finished, I drove the speakers with my preamp thru an ancient but gigantic mono Philco tube radio with a line-input RCA jack. It all sounded good until you turned up the volume. Hey, what kid didn’t want to? I needed a real amplifier. And so, I sold my 1967 Mosrite bass guitar to help finance my new audio addiction. She was a beautiful candy apple red with dual pickups, a zero-fret nut, low action, and a short scale, and I knew I would miss her. But at the time, I was more into listening to music than making it.

 


Mosrite “The Ventures” model bass, circa 1966.

 

They say that what goes around comes around, and in 2013 it did. As I was sitting around wondering just how much trouble I could get into in my future retirement, the thought came to me that playing music again could occupy a lot of time. I started surfing the web and found the Chicago Music Exchange. They had an extensive collection of vintage Mosrite guitars for sale. As I dug deeper, I found my old bass guitar. I knew the moment I saw the back of it that it was mine, as it had a nasty nick in exactly the same place where I’d left it. Somehow it had made it to Chicago. I negotiated the price down to only 10 times what I had sold it for. Off to the luthier it went for some adjustment to the neck and some new strings, and it was ready to play again. The candy apple red finish had darkened a little over time and there were a few belt buckle scratches on the back, but it still sounded great. On the other hand, the original case stank of mildew and immediately went into the trash.

One of the truths of life is that you never know the next curveball that will be pitched to you. As I sat down to write this piece, pondering whatever happened to those speakers, I was contacted by my college-era roommate, who I hadn’t talked to in 45 years. He found me from reading the first article I had written in Copper, “When I Was a Boy” (Issue 150). He remarked that he had kept the speakers up until three years ago, when he sold the house he had lived in for 42 years. I don’t remember selling the speakers to him. They say if you remember the 1970s, you weren’t there. I guess I must have been, or maybe I just have age-related brain corrosion.

My roommate had recovered the speakers in walnut veneer and finished them with Watco oil. Over the years, he’d replaced the drivers with more modern components. It’s funny, but he never mentioned how good they sounded, only how heavy they were. He left them behind when he moved out.

The new owner painted them black and added new grill cloth in keeping with his decorating style. Here they are now in their third incarnation. It’s amazing to think those speakers are still bringing joy into people’s lives 50 years later.

 

One of Jack’s original speakers.

 

Follow-up:

Boulder had a vibrant music scene in the 1970s. Another 3.2 bar in town, The Dark Horse, also routinely brought national acts, such as Chuck Berry, to their stage. The University of Colorado brought Fleetwood Mac to their field house in 1972. It was a fabulous concert at the time of the Future Games album. Yes, Fleetwood Mac was an English blues band long before they went POP with Buckingham and Nicks, but this was the start of the transition, led by Bob Welch.

Chuck Morris went on to start his own club in Denver, Ebbets Field. As far as I can remember, it’s the only venue wrapped in orange shag carpet. Yes, even the walls. Chuck became a big-time promoter, booking many national acts to Red Rocks Amphitheatre and other venues.

For more information on the music scene in Colorado back in the hey days, check out the Colorado Music Experience website.

 

Speaker photos courtesy of the anonymous new owner.

Aden Zoo photo credit unknown, maybe Snake (the toilet seat guy), since he’s not in the picture.

About The Author

After surviving a misguided youth, the author briefly dabbled in civil engineering and professional photography. Facing bankruptcy, he found his true calling as a software engineer. He spent the last 25 years of his career writing device drivers, firmware, protocol stacks, engineering specifications and documentation. He now plays the bass with a Hartke LH1000 stack producing 1 kW. If he enjoys his music this much, so should his neighbors.


John Klemmer, Part Two: The Saxophone Touch

John Klemmer, Part Two: The Saxophone Touch

John Klemmer, Part Two: The Saxophone Touch

Rudy Radelic

Part One (Issue 157) covered John Klemmer’s early recordings from 1967 – 1970.

With five albums at the Cadet and Cadet Concept labels behind him, Klemmer made a move to Impulse! Records. His label debut, Constant Throb, was a more grounded record than his prior recording, Eruptions. While he could still cut loose with an unleashed barrage of notes (as he does with “California Jazz Dance” on this album), the track “Neptune” leans toward a melodic approach.

 

Recorded live, the Waterfalls album features more of Klemmer’s music, continuing the stylistic approach from Constant Throb. The title track is a mood exercise with the Echoplex, while “There’s Some Light Ahead” features Klemmer on soprano sax.

 

Klemmer recorded three more albums (Intensity, Fresh Feathers and Magic and Movement) with Impulse! and ABC in the 1970s in a similar style, with Fresh Feathers being more accessible to average listeners than his earlier Impulse! records.

In 1975, Klemmer would confuse (or upset, depending on who you asked) fans of his earlier straight-ahead style with the album that changed everything: Touch. Setting aside the cosmic and spiritual overtones and freeform soloing he featured on many previous albums, Touch settled for relaxed, moody grooves. This would prove to be a hit, as it became one of Klemmer’s best-known albums and biggest sellers. A defining moment in his career, Touch would become the blueprint for many albums that followed, and also inspired the name of his own record label, Touch Records.

“Sleeping Eyes” is a perfect example of this new style. Beginning almost from a hush, Klemmer builds up the slow-cooking excitement with his solo, against the impeccable performance from his group. Dave Grusin takes over on an electric piano solo, seasoned with Klemmer’s overdubbed flute parts.

 

The follow-up to Touch was Barefoot Ballet, with nearly the same lineup of supporting musicians playing the same type of melodic mood music. Thankfully, not every record that followed was a clone of Touch, and Klemmer changed things up with the Arabesque album. With a different backing group, Klemmer opted for an upbeat sound that incorporated Latin elements into his music. On board are percussionists Airto Moreira and Alex Acuña, along with future collaborator Oscar Castro-Neves on guitar. The title track features some great ensemble playing, but the album’s tone was set by the frantic samba “Paradise” (which was a new arrangement of “Crystaled Tears” which had previously appeared on Constant Throb):

 

A follow-up album, Lifestyle (Living and Loving) could best be described as the Touch style crossed with the upbeat energy of Arabesque. A more memorable album that followed was Brazilia, which incorporated more of the Latin elements from Arabesque while still offering a relaxed groove. Much of the same personnel who appear on Arabesque also support Klemmer on this record. The frantic title track kicks it off in fine fashion, and “Copacabana” provides a nice groove on which the group can solo.

 

Around this time, Klemmer took a detour, releasing the solo saxophone album Cry. Featuring tenor saxophone, overdubbed and often run through an Echoplex, Klemmer creates everything from a whisper to multiple layers of cascading notes. This is “Happiness.”

 

Many of Klemmer’s albums followed in variations on these styles, including a handful of nicely performed albums on the Elektra Musician label, and two direct-to-disc recordings for Nautilus Records entitled Straight from the Heart and Finesse, the latter being reissued by Elektra Musician two years later. His last full recording was 1998’s Making Love, Vol. 1 on his own Touch Records label, although he has made appearances throughout the years on other artists’ records.

Klemmer recorded a few one-off side projects over the years, such as the duo album Simpatico with Oscar Castro-Neves from 1997. Featuring only guitar for accompaniment, with some seaside sounds occasionally overdubbed, it makes for a fresh and interesting album. Unfortunately, individual tracks are not available on YouTube, but a sample of the record appears here:

 

An earlier side project from 1979 was the two-LP Nexus for Duo and Trio, recorded for Arista Novus. This recording featured Klemmer playing mostly solo, with only drums (Carl Burnett) and/or bass (Bob Magnusson) for accompaniment. This was reduced to a single CD entitled Nexus (for Trane) in 1987. This is “My One and Only Love,” featuring the trio format.

 

Finally, here is a 90-minute gig (date unknown, but likely recorded in the 1990s) featuring John Klemmer in Los Angeles, a good summary of his overall sound from the mid 70s onward.

 

Selected Discography

Here is a list of original albums mentioned in this series, along with a handful of side projects Klemmer has appeared on. Straight from the Heart and Finesse were direct-to-disc recordings on Nautilus Records (the latter reissued two years later on Elektra Musician), and Touch was reissued by Mobile Fidelity Sound Lab on LP in 1978 and gold CD in 1989.

Involvement (Cadet Concept, 1967)
And We Were Lovers (Cadet Concept, 1968)
Blowin’ Gold (Cadet Concept, 1969)
All The Children Cried (Cadet Concept, 1970)
Eruptions (Cadet Concept, 1970)
Constant Throb (Impulse!, 1972)
Waterfalls (Impulse!, 1972)
Intensity (Impulse!, 1973)
Magic and Movement (Impulse!, 1974)
Fresh Feathers (ABC, 1974)
Touch (ABC, 1975)
Barefoot Ballet (ABC, 1976)
Lifestyle (Living and Loving) (ABC, 1977)
Cry (Solo Saxophone) (ABC, 1978)
Arabesque (ABC, 1978)
Brazilia (ABC, 1979)
Straight from the Heart (Nautilus direct-to-disc, 1979)
Magnificent Madness (Elektra Musician, 1980)
Finesse (Nautilus direct-to-disc, 1981; Elektra Musician, 1983)
Hush (Elektra, 1981)
Solo Saxophone II – Life (Elektra, 1981)
Music (MCA, 1989)
Making Love, Vol. 1 (Touch Records, 1998)

Anthologies on CD:

Mosaic – The Best of John Klemmer, Volume One (MCA, CD reissue 1996)
Priceless Jazz Collection (GRP, 1999)

Side Projects:

Nexus for Duo and Trio (with Carl Burnett, Bob Magnusson) (Arista Novus, 1979)
Nexus One (For Trane) (abbreviated CD reissue of Nexus for Duo and Trio) (Bluebird, 1987)
5 Birds and a Monk/Birds and Monks (multi-artist project featuring John Klemmer, Joe Henderson, Joe Farrell, Johnny Griffin, Harold Land, and Art Pepper) (Galaxy, 1981; CD reissues, 1995 and 1998)
Ballads by Four/Ballads by Five (multi-artist project featuring John Klemmer, Art Pepper, Johnny Griffin and Joe Henderson; Joe Farrell added for Ballads by Five CD reissue) (Galaxy, 1981; CD reissue, 1997)
Two Tone (multi-artist project feat. John Klemmer and Eddie Harris) (Crusaders Records, 1982)
Simpatico (with Oscar Castro-Neves) (JVC, 1997)