LATEST ADDITIONS

In our May issue (see “The Entry Level,” page 47, or just click right here), I discussed the Music Hall USB-1 turntable ($249), Audioengine 5 powered loudspeakers ($349/pair), HiFiMan HM-602 portable music player ($439), and meatloaf (probably around $30 for all the ingredients).

I remember, fairly clearly, the events which led to this particular column. It was a chilly winter evening, late January or early February, and the girls and I had enjoyed a quiet, lazy day. We were now on our way home from a quick trip to Trader Joe’s. I was riding in the backseat of Natalie’s Honda (she’s got a motor back there, too), Nicole was in the passenger seat. The conversation turned from music to food.

CHARLIE PARKER: Bird (Original Soundtrack)
Charlie Parker, Charles McPherson, alto saxes; Red Rodney, trumpet; Monty Alexander, piano; Ray Brown, Ron Carter, basses; Charlie Shoemake, vibes; John Guerin, drums; others
Columbia SC 44299 (LP), CK 44299 (CD). Bobby Fernandez, Neal Spritz, engs.; Clint Eastwood, Lennie Niehaus, prods. ADA/ADD. TT: 41:21

Unlike Round Midnight, which encased Dexter Gordon's Bud Powell character in a soft-focus, romanticized, soundstagily mythic NY/Paris jazz juncture that never quite was (Herbie Hancock's music direction was deliberately inauthentic for that or any time or place other than the film studio), producer/director Clint Eastwood's labor-of-love Bird attempts to place Charles Christopher Parker Jr. squarely in the bebop world he created. The modern musicians he "plays" with here blow strictly in that tradition, accompanying Parker's solos, as peeled off the original Savoy, Verve, and home recordings with audio wizardry (massive EQing, dynamic noise filters, etc.).

The VTL 225W DeLuxe monoblocks are very similar to the 300W monoblocks that received such an enthusiastic reception from J. Gordon Holt a year or so ago (in Vol.11 No.10) and, ultimately, most of the audiophile community. Technically, they differ only in output tubes and transformer: the 225W uses EL34s, the 300W uses 6550s. The 225Ws, at $4200/pair, cost $700 less than their more powerful brothers. The question may be raised: Why have two models so close in price and performance? According to David Manley, the 225Ws were built on special order for audiophiles who preferred the sound of EL34s to the 300Ws' 6550s. Demand was so great for the EL34 version that he decided to add it to the line. They look almost identical, the only difference being the smaller output transformer on the 225W and an additional filter capacitor on the 300W's top chassis.

A goodbye note from JB Stanton Communications' Bryan Stanton, one of the many friendly faces I somehow managed to miss while in Munich.

And just as suddenly as we arrived in Munich&#151just as we were beginning to feel comfortable and alive&#151it was, unfortunately, time to leave Munich. Rosemarie and I loved the city, the people, the food, and the hi-fi.

The M.O.C. proved to be an outstanding venue for presenting hi-fi in the best possible light, creating an atmosphere that invited attendees to linger, relax, enjoy. Though the weekend’s weather was absolutely glorious, people from all over the world decided to spend it indoors, with music and sound and gear.

Some stats and trivia:

Those who’ve attended a Wilson Audio Specialties demo know that the company’s Peter McGrath puts on a good show&#151when it comes to introducing a loudspeaker and winning over an audience, he’s perhaps the best in the business.

So, I wasn’t actually surprised that Rosemarie took a fancy to the man. I was surprised, though, by how deeply she enjoyed the demonstration.

“Hey, look&#151Jeff Joseph’s speakers arrived!” Rosemarie exclaimed.

“Oh, cool. Let’s take a picture,” I said. “Go over there and look pretty.”

“What?”

“I said, ‘You look so pretty.’ Geez. Come on, stand next to the speakers. Please?”

“Alright.”

“I said, ‘Stand next to them.’ I didn’t say, ‘Lean all over them like they’re yours.’”

JA would have lost his mind.

KEF’s Julia Davidson gave an excellent presentation, discussing the company’s efforts in bringing the Blade concept to life.

We listened to Radiohead’s “All I Need” from the great In Rainbows, and the song seemed to have more swagger than I’m used to, more grip, more pull, a way of reaching out and reeling in.

“That sounds good,” smiled Julia.

“You’re one of the designers?” I asked.