Decisiones
Dad,<br>
It's difficult for me to think of good times with you, but something that does come to mind is how you'd translate those wonderful Ruben Blades songs for me, word for word.
LATEST ADDITIONS
Kinetic Sculpture
Theo Jansen's art is moving—literally.
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Armor for Cats and Mice
Jeff de Boer is a sculptor, jeweler, and artist who produces wonderful<I>objets</I>. From his FAQ: "I have not put a mouse into a suit of armor. I have, however, tried it with one of my cats, and have the scars to prove it."
Spammer Grammar
A reliable spam filter may serve the interests of the spammer as well as those of the recipient.
Which audio product spent the most amount of time in your system?
Sometimes we get lucky and find a product that turns out to stay with us forever. Which audio product has spent the most amount of time in your system?
Wilson Audio Specialties WATT/Puppy System 8 loudspeaker
Synecdoche: That's what the Wilson WATT/Puppy is.
Audiophiles Perfect What The Mass Market Selects
As I write this in the first quarter of 2007, CD sales are off over 22% compared to this time last year. The music industry as we know it, based on sales of some kind of physical medium, is over. While CDs and even LPs will remain available—they're so easy and cheap to make—they've become irrelevant to the mass market and to the future of audiophile recordings. The major labels have also become irrelevant (not to mention highly irritating).
Recording of June 2007: Sky Blue Sky
WILCO: <I>Sky Blue Sky</I><BR>
Nonesuch 131388 (CD). 2007. Wilco, prods.; TJ Doherty, eng.; Jim Scott, mix; Bob Ludwig, mastering. AAD? TT: 51:18<BR>
Performance *****<BR>
Sonics ****
David Wilson: WAMM!! WATT?!? WHOW!!! (& the Puppies!)
The French have a phrase for it: plus ça change, plus la même chose, which can be roughly translated as "the more things change, the more they stay the same." I was reminded of this when recently reading through the December 1980 issue of The Absolute Sound. There on p.368 was the statement that "Dave Wilson (Virgo) has joined the staff...to construct a testing program that will allow us to determine if some of the peculiarities and anomalies we hear in evaluating equipment can indeed be numerically measured."
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Anat Cohen
Anat Cohen’s <I>Poetica</I>, on her own Anzic Records label, is a fresh breeze of an album, and I mean that in a good way. Still in her 20s, Cohen plays clarinet with a polished edge and verve second only to Don Byron’s. Born in Tel Aviv, schooled at Berklee, honed in New York clubs, playing not just modern jazz but Brazilian Choro and Dixieland, she lets all her influences show but none of them dominate. Her tone bears something of klezmer’s lilt but none of its schmaltz. Her arrangements have the joyful-melancholic sway of Israeli or Latin folk music but none of its sentimentality. On the album, she also plays two knottily catchy original tunes, a Jacques Brel song, and a tinglingly lovely cover of Coltrane’s “Lonnie’s Lament,” the last backed by a string quartet. The sound, mixed by Joe Ferla and mastered by Sony’s Mark Wilder, is excellent.