How am I to convince music lovers that this CD is markedly different from Attention Screen's first two live CDs?
The question kept running through my head as I marveled at the breadth and maturity of Attention Screen's remarkable improvisations during a pre-concert sound check in the Piano Salon of Yamaha Artist Services, Inc. (YASI), at 689 Fifth Avenue, in the heart of Manhattan.
Attention Screen impressed even more at the public concert the following night, April 24, 2010. As the band members engaged in one improvisational miracle after another, fearlessly exploring new territory, the beauty and inventiveness of their playing astounded me.
Free jazz quartet Attention Screen, which I recorded live at Manhattan's Merkin Hall in February, are performing a 60-minute set Saturday May 12 at 12:30pm, to celebrate the release at HE2007 of the resultant CD.
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 . . . "
I well remember my first "real" headphones: a pair of Koss Pro4AAs that I bought back in 1970. The Kosses were relatively expensive, but, like headphones today, they allowed an audiophile with limited cash to get a taste of high-end sound that was not possible with a speaker-based system. I bought the Pro4AAs because I had become fascinated with how the images of the instruments and singers were strung along a line between my ears inside my head. It seemed so much more intimatea more direct connection with the musicthan playback through loudspeakers.
The Audience room was featuring the Clairaudient 2+2s ($5000/pair) when I popped in for a listen. This speaker features four metal-cone units, two on the front two on the back, operated full-range, and reinforced by a passive bass radiator on one of the speaker's sides. Brian Damkroger enthused about the clarity conferred by the absence of a crossover when he reviewed the speaker in the July 2011 issue, but I was less keen on its balance, finding it very forward. Both aspects was readily apparent at Capital AudioFest, though I admit the room's acoustics were problematic. This is definitely a speaker that you must audition for yourself.
John McDonald’s Audience company has developed a range of speakers using a proprietary 3” cone driver to cover the complete audio range. The flagship Clairaudient 16+16 ($72,000/pair) made its debut at the Newport Beach Show. Each Clairaudient 16+16 uses 16 of the latest-generation drivers firing to the front and another 16 to the back, and is specified to be flat to 30Hz.
Colorado Springs retailer Audio Limits was filling one of the very large ground-floor rooms at RMAF with sound, courtesy of the massive Venture Grand Ultimate loudspeakers ($90,000/pair) driven by the new AMP M1 solid-state monoblock amplifiers from BMC ($7790 each, $15,580 pair). Source was the BMC BDCD1 belt-drive CD transport ($5990), the BMC DAC1 Pre (HR) D/A converter/preamplifier ($6290), with Silversmith The Silver interconnects and speaker cables, Stage III power cables, and Weizhi PRS-6 power distributor.
I listened to a track I haven't heard in years in this room, Michel Jonasz's "Les temps passeé," from the CD La fabuleuse histoire de mister swing (1987), and was blown away by the enormous sound, the huge dome of ambience that was defined between and behind the speakers, and the sheer effortlessness with which the music was presented.
Manhattan retailer/distributor Audio Arts was showing the Zellaton Grand loudspeaker ($39,750/pair). This combines a tweeter and two 7" mid-woofers using aluminum foil-faced rigid-foam diaphragms first developed in 1935 by Emil Podszuswhich I had first seen and heard in the Pawel Ensemble minimonitors from 20 years agowith a downward-firing woofer in a cabinet that is open to the rear.
Like Stephen Mejias at the 2013 Rocky Mountain Audio Fest, I have been impressed by the German Zellaton speakers when I have heard them, both at shows, and at a dealer event I attended in 2012 at Fidelis Audio in New Hampshire. With foil-covered drive-units, a crossover from Duelund Coherent Audio, and driven by Trinity balanced phono and line preamps and 200Wpc CH M1 amplification from Switzerland, the three-way Reference speakers sounded forceful and detailed.
These nice-looking standmounts are Salk Sound's Exoticas ($6000/pair), which use new high-performance drive-units from SEAS. Driven by an AVA solid-state amp (bottom in the rack), they produced a natural sound on a Kimber IsoMike cello recording. But when I first entered this room, the less-expensive, floorstanding Salk Sound Towers, which sell for less than $2000/pair, were producing a big sound on a Trentemoller track, driven by AVA's Ultravalve tube amplifier ($1995, above the solid-state amp in the rack), which gets 35Wpc from a pair of EL34s per channel. Preamplifier was AVA's new FET-Valve CF.