As songwriters go, Guy Clark has been touched by the muse more than most. Unfortunately, in recent years he's also been visited by illness and heartache. In June 2012, his wife of 40 years, Susanna Clark, who was both a songwriter ("Easy from Now On") and an artist (the cover of Willie Nelson's Stardust), died in Nashville. In the past several years Clark, 72, has battled lymphoma, had his knees replaced, and undergone an arterial replacement in one leg. He was being treated for skin cancer when I visited his home, south of Nashville, in October 2013.
Some months back, SACD and DSD champion Jared Sacks, founder of Channel Classics, stopped by Casa Bellecci-Serinus in Oakland for an extended chat about the history of his label, recording in DSD, and his new NativeDSD.com download site. I started our conversation by asking Jared to share his history with music and the industry with Stereophile:
Earlier this month, our all-analog coverage counterpart AnalogPlanet announced the release of the Nomad, a brand new entry-level turntable from American hi-fi manufacturer VPI Industries. For $995, The VPI Industries Nomad turntable includes a built-in phono preamplifier, unbalanced output, a set of Grado Labs iGrado around-the-neck headphones, headphone output, and an Ortofon 2M Red cartridge. This instant listening package was the brainchild of Mat Weisfeld, son of company founder Harry Weisfeld. Mat Weisfeld is now the President of VPI Industries. I had the opportunity to visit the factory and ask Weisfeld a few questions just before the official announcement of the Nomad.
My e-mailbox fills up with press releases announcing new products and new companies, and that always makes me wonder: Where does all this stuff come from?
I mean, I have lots of ideasI feel like Butch Cassidy: "I have vision, and the rest of the world wears bifocals." But there's a huge gap between having a good idea and starting a company that successfully gets that idea out in front of the public. And, I suspect, there's an even greater gulf between getting a product out there and actually making a living at it.
In our September issue, I wrote about Pioneer’s excellent SP-BS22-LR loudspeaker. At just $129.99/pair (and often discounted), the SP-BS22-LR represents extraordinary value and may very well attract a wider and younger audience to true high-fidelity sound. The only thing I don’t really like about the speaker is its tongue-twister of a name. (But that’s easy to forgive. Most people can’t pronounce my name, either.)
While preparing the review, I took the opportunity to ask Andrew Jones, Pioneer’s chief engineer, a few questions about hi-fi, music, and loudspeaker design. As always, Jones was forthright and charming; his answers to my questions were often enlightening.
Before striding into the future, John Dibb enjoyed considerable exposure to his sceptered isle's fascinating past. He was born in England's North Country, in 1948, in a model West Yorkshire village established a century earlier by an enlightened industrialist determined to provide comfortable housing and communal amenities for his employees and their families; called Saltaire, it's now a UNESCO World Heritage Site. At age 11, young Dibb won a place at the nearby Bingley Grammar School, which dates back half a millennium, to the era of Henry VIII. He later studied at the University of Bradford, one of two English colleges then offering a course in materials science.
I'm not sure why, but people tell me things. Maybe it's because they realize I listen. They reveal themselves, sometimes in charming and unexpected ways. So I was almost prepared for my three-way conference call with the designer of the Symphonic Line Kraft 400 power amplifier, Rolf Gemein, in Germany and Indianapolis-based importer/distributor Klaus Bunge. I started by asking Rolf about his design philosophy . . .
In April 2013, Stereophile editor John Atkinson took part in two Music Matters evenings held by Colorado retailer ListenUp. JA took time off from the formal presentations to talk to ListenUp's George McClure about how we perceive music and about what matters most when we record and playback music.
Tune those young ears, Mr. Anderson! After a 30-year career in audio engineering that's seen his name appear in the credits of over 1700 albums, Jim Anderson, who won the 2013 Grammy for Best Surround Sound Album, for his remastering of Patricia Barber's Modern Cool, thinks education is the key to stemming the tide of degraded sound that threatens to swallow the recorded-music industry. Anderson, who's taught for a decade in New York University's Clive Davis Department of Recorded Music, starts his students early.
It's not easy to get Roy Gandy to look back. "I'm not a past person, I don't reminisce," he says. "But right at this moment I'm feeling very happy. We've not quite completed the launch of a whole new range of turntables and a new range of electronics, and I'm feeling elated."
"You see that empty space?" says Willie Nile, motioning toward a lot between buildings on Bleecker Street, an impish Irish grin flickering across his face. "They haven't built anything there yet because Anna Wintour lives around the corner. And that red-brick house over there, the one with the white door? That's where Dylan lived. I used to see Bob around the neighborhood now and again."