Like many perpetually adolescent, emotionally-stunted hipsters, I had a radio show at the campus station back in the day. Crafting a show that had flow was an arcane art—one that is virtually impossible to experience on commercial radio stations with limited play lists. Therefore, it was an art that, once mastered, would be of almost no practical use. It certainly wasn't going to get you a good paying job.
Strange collection, but that's the point. How do you categorize that which is beyond category? Of course, Wittgenstein said, " Whereof one cannot speak, thereon one must remain silent." I say, "Eff off, Ludwig."
Mogwai doesn't bother with words. These are all instrumentals. Thick, heavy instrumentals, packed with emotion and color.
Interesting <A HREF="http://www.NoiseAddicts.com/2008/07/the-sound-that-shouldnt-be/">articl…; on subharmonics. There are links to recorded examples, which are certainly interesting, but for me, the money quote is: "She demonstrated her ability to top scientists in the US, but they gave up trying tofind out howthe effect happens."
Yet another amp from Colorado! This is the third amp to come my way from that state (the others being the Spectrascan and the Rowland Research), and at this point, after living with it for a couple of months, I'm quite comfortable in declaring the Boulder 500 to be one helluvan amp.
<I>Dateline—Chicago, May 30, 9:00pm.</I> Exploding fireworks lit up the sky above the Chicago river as 200 leading high-end designers gathered in the Hotel Intercontinental for <I>Stereophile</I>'s 30th Anniversary banquet. After a repast of four gourmet courses and five wines, the time came for after-dinner speeches to celebrate <I>Stereophile</I>'s past and high-end audio's future. <A HREF="http://www.stereophile.com/asweseeit/593">Publisher Larry Archibald</A> described his adventurous transition from the high-end car business to risky publishing. Introducing <A HREF="http://www.stereophile.com/historical/712">J. Gordon Holt</A>, he praised JGH's uniquely lucid writing and his unflinching insistence that equipment designed to reproduce music should be judged on its ability to do just that—the unconventional view that launched high-end audio.
<B>WAGNER: <I>Glenn Gould Conducts & Plays Wagner</I></B><BR>
<I>Siegfried Idyll</I>, original chamber version.* Piano Transcriptions (Gould): <I>Die Meistersinger</I>, Prelude to Act I; <I>Götterdämmerung</I>, Dawn & Siegfried's Rhine Journey; <I>Siegfried Idyll</I><BR>
</I>Glenn Gould, piano, piano 4-hands (overdubbed), conductor; members of the Toronto Symphony<BR>
Sony Classical SK 46279 (CD only). Kevin Doyle,* Kent Warden, Frank Dean Dennowitz, engs.; Glenn Gould,* Andew Kazdin, prods. ADD. TT: 71:00
I have not listened to a compact disc at home in <i>months</i>. It's kind of crazy. It kind of makes me feel weird about even <i>having</i> a compact disc player. At some point along the road, I figure I'll transform all of my compact discs into invisible bits and pieces on a hard drive and trade the physical objects for more vinyl.
As <A
HREF="http://www.stereophile.com/news/100807jammie/">we reported</A> almost a year ago, US District Court Judge Michael Davis awarded record labels $220,000 in damages for Jammie Thomas' having posted digital files to the KaZaa peer-to-peer site. To date, that has been the RIAA's sole victory in its prosecution of file sharers and it hinged upon an instruction Judge Davis gave the jury, specifically Jury Instruction 15, which said that Capitol Records did not have to prove anybody downloaded the songs, only that Thomas had posted them. This is known as the "making available" argument and was vigorously opposed by Thomas' lawyer.