LATEST ADDITIONS

I started off Saturday morning at the Capital Audiofest by revisiting Salon II in the Crowne Plaza’s atrium, where I chatted with AIX Records’ Mark Waldrep. Recently the subject of a fascinating interview on AudioStream.com, Mark has been a voluble and ubiquitous advocate of high-resolution surround-sound recordings. At CAF, however, he was using headphones to demonstrate his AIX recordings. But with a difference—to the left of my photo you can see a Smyth Realiser, which allows full surround-sound to be experienced on headphones (see “Music in the Round,” November 2010). On the DVD-R versions of AIX releases, Mark has included full-resolution 2-channel FLAC files prepared with the Smyth Realiser from playback of the original multichannel recordings on his reference system. I tried one of these files, called “Headphones [xi],” and was impressed. The soundfield extended well outside my head, with good localization of the rear-channel information. In effect, I was transported via headphones to Mark’s listening room.

The Capital Audiofest is not like other shows, which was emphasized when I finally walked into the atrium of Rockville, MD’s Crowne Plaza Hotel. There was show organizer Gary Gill wailing on trombone in a set of free jazz with drummer Kirk Kubicek Jr. and bass player Harry Walker. Walker was playing/stroking/tapping a fretless Ashbory Bass, which makes up for its short 18” scale length by having very thick, heavy silicone-rubber strings. Despite the unstructured nature of the music, the trio created fascinating and compelling soundscapes, rivaled only by those created in a later set by headlining act Janel Leppin and Anthony Pirog, on electrified cello and electric guitar, respectively.

On Monday, July 2, 2012, Beats Electronic LLC, the company most popular for their bass-bumping and market-dominating Beats™ by Dr. Dre™ headphones, announced their acquisition of on-demand music service MOG, a music streaming service that offers users access to over 16 million songs via wired or wireless connection.

MOG users can access their vast library of music and user-created playlists through an internet browser-based website platform, connection to a streaming device on a home network like the Logitech Squeezebox Touch, or by streaming to a mobile device. Speaking of mobile devices, guess who else is in cahoots with Beats? In August 2011, Taiwanese mobile device manufacturer HTC acquired a 51% stake in Beats, a purchase equal to about $300 million dollars. This partnership allowed for HTC to integrate Beats Sound Systems into their phones.

In May, I exchanged a few e-mails with Wojciech Pacula, editor of the Polish online magazine, High Fidelity.

We discussed publishing, music, hi-fi, and life. (I can’t believe I didn’t mention Natalie, Nicole, the Mets, or beer.) You can read the interview here. There are also lots of pictures of my listening room and gear, which you might find interesting.

Pacula did a great job with the images and the translation. I don’t look or sound too painfully ridiculous. Whew!

In my review of Bryston Ltd.'s SP-3 preamplifier-processor ($9500) in my May 2012 column, I found that it sounded outstandingly open and dynamic when used as an analog stereo or multichannel preamp. This was evident regardless of the rest of the system, which began with a McIntosh Labs MC303 three-channel power amplifier driving B&W 800 Diamond speakers, but eventually included Bel Canto REF1000M and Anthem Statement M-1 amps, as well as Adam Audio's Classic Column Mk.3 speakers. Didn't matter. The Bryston's transparency allowed each component to perform as well as I'd ever heard it. After that, I disconnected the SP-3 from my Manhattan system, tossed it (figuratively!) in the car, and took it out for a weekend in the country.

I can’t wait for this one to be released on a physical format, preferably orange vinyl (please, Island Def Jam?), but we can stream Frank Ocean’s prog/R&B/soul/funk/quiet storm epic, Channel Orange, right now via his tumblr.

It is perhaps the most cherished tale from hi-fi's primordial past: In 1951—when music was first being recorded on magnetic tape, when the use of much-improved microphones became a mix of science and art, and when Stereophile's founder, J. Gordon Holt, was still a little nipper, years away from his first martini (though I wouldn't swear to that)—the team of Robert (Bob) and Wilma Cozart Fine began to build a legendary catalog of recordings of classical music. It eventually included the work of conductors Rafael Kubelik, Antal Doráti, and Frederick Fennell; the Chicago and Minneapolis symphony orchestras; the pianists Byron Janis and Gina Bachauer; and the cellists Mstislav Rostropovich and János Starker—all released with often wildly colorful covers under the still-evocative title of Mercury Living Presence.