Music and Recording Features

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John Swenson Posted: Nov 22, 2008 0 comments
Frank Zappa was well known for a lot of things—his sharp satiric wit, his virtuoso guitar improvisations, his excellence as a bandleader, his fearlessness in combating hostile political forces and crooked record-industry executives. But Zappa is all too rarely given credit for his status as one of the most creative musical imaginations of the 20th century, regardless of genre.
Art Dudley Posted: Oct 17, 2008 0 comments
Stereo Review, the world's most popular audio magazine during most of its time on Earth, was a common target of derision from the hobby's so-called high-end press, not least of all from me. We criticized its nerdy, boring prose, its uniformly positive reviews, and, most of all, its shameless pimping of the notions that measurements reveal all there is to know about a component, and that all competently engineered components sound equally fine.
John Atkinson Posted: Jun 26, 2009 Published: Sep 26, 2008 0 comments
In June 2007, I again recorded Minnesotan male choir Cantus live on location, this time in the glorious acoustic of Sauder Concert Hall at Goshen College, in Goshen, Indiana. The resultant CD, While You Are Alive (Cantus CTS-1208), is the eighth I have engineered of the group; it is a collection of 20th- and 21st-century works that explores, illuminates, and celebrates all stages of life, from birth to death.
Art Dudley Posted: Aug 20, 2008 0 comments
Snobbery is a disease of the imagination.—Peter Straub, "Little Red's Tango"
John Marks Posted: May 01, 2008 Published: Apr 01, 2008 0 comments
US composer Morten Lauridsen's Lux Aeterna is one of the indisputable masterpieces of the 20th century. John Atkinson has recorded the male vocal group Cantus's performances of Lauridsen's O Magnum Mysterium (on Comfort and Joy: Volume One, Cantus CTS-1204) and Ave Maria Dulcissima (on Cantus, Cantus CTS-1207). (And great recordings they are—one engineer chum thinks JA's Cantus recording of OMM is the single best-engineered choral recording he's ever heard.)
Stereophile Staff Posted: Jun 26, 2009 Published: Feb 26, 2008 0 comments
It starts quietly enough, with a simple falling-fifth motif, but the first movement of Sergei Rachmaninoff's neglected Piano Sonata 1 develops into a work of epic proportions nearly 40 minutes in length, with haunting melodies, massive dynamic contrasts, and lush, sensual harmonies.
John Marks Posted: Feb 26, 2008 0 comments
Another gosh-darn write-in competition! Sorry! They're like peanuts (or Campari and tonics). It's almost impossible to stop at just one.
Stereophile Staff Posted: Jun 26, 2009 Published: Dec 26, 2007 1 comments
Stereophile's seventh CD of Minnesotan male choir Cantus, called with delightful originality Cantus (CTS1207) and recorded at 88.2kHz with 24-bit resolution, is now available from our e-commerce page, for $16.95 plus S&H.
John Atkinson Posted: Aug 18, 2007 Published: Sep 18, 2007 0 comments
John Atkinson: Making It Live
The e-mail from Stereophile reviewer Bob Reina was straightforward: "I want to make a demo of my new jazz group. I plan to record the session in my living room by getting my old four-channel Teac 3440 out of mothballs and sticking one or two mikes on each instrument. I'd like your view on which mikes would be most appropriate for the four instruments . . . "
John Marks Posted: Apr 29, 2007 0 comments
I have not seen Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, and I am not likely to. But the phrase cultural learnings of America is a good jumping-off point for an important topic: cultural literacy.
Kalman Rubinson Posted: Mar 25, 2007 0 comments
Iván Fischer, founder and conductor of the Budapest Festival Orchestra, has performed with many major orchestras and recorded for a number of major labels, most significantly with Philips, from 1995 to 2004. Fischer/BFO made the first multichannel orchestral recording for SACD, which Philips used as a demonstration disc for their first SACD players. I still treasure that disc—it demonstrates many of the advantages of the medium with a wide and varied program—but it has never been commercially released.
Wes Phillips Posted: Nov 12, 2006 Published: Dec 12, 2006 0 comments
Wes Phillips on the Sessions
One of the enduring myths of audiophilia is that of the recording as a true and honest picture of a musical event—a sonic "snapshot" that captures a unique moment of time the way a photograph captures the light of a day long since past.
Art Dudley Posted: Oct 01, 2006 Published: Sep 01, 2006 0 comments
"The public will put up with anything except boredom."—Giuseppe Verdi
Robert Baird Posted: Nov 02, 2007 Published: May 02, 2006 0 comments
Before I even turn on the recorder, Willie Nile is telling me his theory of how the granite under Manhattan Island conducts electricity, which accounts for the perceptible charge that many people feel makes New York City so special. It's also what draws artists like flies, none more passionate than singer-songwriter Nile, who's personally contributed a few volts during his years in NYC.
John Atkinson Posted: Oct 01, 2006 Published: May 01, 2006 0 comments
John Atkinson on the Recording
"This will fix it!" Kimber Kable's Ray Kimber placed some acoustic baffles around the table on which sat my Apple TiBook. We were recording Robert Silverman performing one of Beethoven's masterworks for piano, the Diabelli Variations, Op.120, and I had been bothered by a faint whistle underlying the music. It turned out to be the sound of my laptop's fan, an unforeseen drawback of my decision to dispense with tape and record straight to hard drive for the August 2004 sessions. We had already had a problem with a slight slapback echo from the balcony of the Austad Auditorium at Weber State University in Utah, which Ray had fixed with drapes, and a problem with low-frequency rumble from airplanes overflying the college campus during one session had been solved by Ray phoning the air traffic control tower. However, even Ray couldn't deal with thunder, so that was the one session we decided to finish early.

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