This weather is pointless. Pointless! What's the use of all this snow and ice? Don't tell me it looks pretty. I'm just not fit for this sort of cold. It's days like today after windy winter nights like last, when the temperatures plunge into the single digits and my apartment's old pipes freeze, that I wish I had an entire fleet of fiery amps to keep me warm.
My first record cleaning purchases: A Hunt EDA carbon fiber brush for dry-cleaning (footnote 1), a MoFi brush for wet-cleaning, a couple bottles of MoFi fluid (Super Deep Cleaner for the really nasty records, and Super Record Wash for the plain old dirty ones), 100 Polyline inner sleeves (because of all the different options these were the least expensive per sleeve, but, at some point, I'd like to try the MoFi rice paper sleeves), and 100 4-mil outer sleeves (because 4-mil seemed just thick enough, and because I liked the packaging).
Totem's Vince Bruzzese was happy to tell me about the Wind Design, an enhanced version of the company's flagship floorstander. It uses a "skid plate" decoupling system with a front "claw" which is user-adjustable to complement the phase interactions between the speaker and various associated electronics. Totem strives to create loudspeakers that will mate happily with all sorts of associated equipment, and today they were making music with an Arcam FMJ disc player and Bryston amplification.
Totem was showing their special anniversary model, The One ($3595). Along with Naim electronics, the sound created was powerful, fast, and fun. We listened to "How I Love That Woman," a soaring instrumental by Bob Brozeman.
As usual, Totem did a wonderful job of transforming their booth to provide a fun and distinct listening environment. The company was also playing their Tribe wall-mount, which provided a surprisingly robust sound.
Totem was showing their new Element Series of loudspeakers. Both the stand-mounted Fire ($6000/pair) and floorstanding Earth ($9000/pair) use Totem’s 7-inch Torrent hand-assembled driver and employ no crossover parts in the woofer section.
Michael Lavorgna reports on Philip Jeck and Ted Riederer’s performance, last night, at Our Lady of Lebanon Cathedral, in Brooklyn. Jeck sat at a table, with access to a small keyboard and a few simple turntables. Meanwhile, Riederer played guitar and sang, sending his signals through various effects pedals, looping them and transferring them directly to lathe-cut vinyl. Upon the completion of a side, Riederer would hand the newly created record to an unsuspecting Jeck. In turn, Jeck, with a smile, would place the record upon a turntable and play along. It continued like that for some time.
Like ML, I was captivated by the total experience: the dim lighting, the attentive crowd, the lulling sounds, the rich scents, the soft feel of old floorboards and torn carpetingit all worked to transfix and transport.