Music Matters Jazz, a new audiophile label, starts up this month, reissuing classic Blue Note albums on 180-gram virgin-vinyl LPs pressed at 45 rpm. The test pressings I’ve heard sound extremely promising. The people involved in the company certainly know what they’re doing (Joe Harley of AudioQuest, Steve Hoffman and Kevin Gray of AcousTech, Michael Cuscuna of Mosaic Records, who is more familiar with the Blue Note vaults than anybody).
When we last heard from NBC Universal's CEO Jeff Zucker, he'd refused to renew the network's yearly contract with Apple's iTunes Store, leading Apple <A HREF="http://stereophile.com/news/090307nbc/">to immediately pull NBC shows</A> from the store rather than have them yanked midseason. In addition, Apple managed to control the story so that NBC came off looking clueless and greedy. You'd think Zucker would have learned to keep his mouth shut from that media drubbing.
This last week has generated more mainstream coverage of the vinyl world than we've seen in, say, the last 20 years.
<I>The following was submitted as a letter to <A HREF="http://www.stereophile.com/interviews/66">J. Gordon Holt</A>, in response to his Editorial "<A HREF="http://www.stereophile.com/asweseeit/882awsi">Digital Revenge</A>," in issue #53 (August 1982, Vol.5 No.6). We are publishing it as a guest editorial, because the writer is one of the few audio people whose judgement we respect who disagrees with us about digital's merits. The feeling, it would seem, is mutual.</I>—<B>Ed.</B>
Question: What is it that almost every audiophile takes for granted, yet has more effect on the sound of his system than does any single component in that system? Answer: His listening room.
It was eight years ago that I first met Aalt Jouk van den Hul. I was visiting Ortofon in Denmark, and, with a group of hi-fi journalists from all over Europe, was traveling by bus to visit the cartridge-production facility in the far south of that country. Bus journeys are not my ideal way of passing time; naturally I gravitated to the rear of the bus, where bottles of Tuborg were making their presence felt. One journalist, however—a pixieish fellow hailing from The Low Countries—resisted the blandishments of the opened bottles. Producing a sheath of black-and-white glossies from his briefcase, he announced that he had just developed the ultimate stylus profile!
In recent months, <I>Stereophile</I>'s "Letters" column has been filled with complaints about the equipment we choose to review. "Too rich for my pocketbook" is the universal sentiment. This puzzles me, considering that <I>Stereophile</I> does review many "affordable" components. In part, I think this reaction is due to the high profile invariably associated with very expensive gear. Although we did put both speakers on our cover, one review of a Wilson Grand SLAMM or a JMlab Grand Utopia seems to outweigh 10 reviews of more realistically priced products. Our writers love to cover the cutting edge of audio—witness Martin Colloms's report from HI-FI '96 in this issue—because progress is more easily made when a designer is freed from budget constraints. But without the Grand SLAMM or Utopia, would Wilson have been able to produce the $9000/pair WITT, or JMlab the $900/pair <A HREF="http://www.stereophile.com/">Micron Carat</A>, to name two high-value, high-performance designs recently reviewed in the magazine?
<B>GRATEFUL DEAD: <I>Two from the Vault</I></B><BR>
Grateful Dead Records GDCD40162 (2 CDs only). Dan Healy, prod.; Jeffrey Norman, Don Pearson, engs. ADD. TT: 109:12<BR>
<B>GRATEFUL DEAD: <I>Infrared Roses</I></B><BR>
Grateful Dead Records GDCD40142 (CD only). Bob Bralove, prod.; Jeffrey Norman, John Cutler, Dan Healy, Bob Bralove, engs. ADD. TT: 58:30
Hat tip to Mark Fleischmann.