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Inex’s innovation involves the use of fiber-optic cable in its A200 preamp ($12500) and Inex CD Player ($7500). The Inex A100 monoblock amplifiers ($14,000/pair) were manhandling a pair of Märten Heritage Getz speakers ($20,000/pair) at light speed. Of course this could only be possible if the cables were up to task and luckily the Harmonic Technology Photon Amp interconnects ($2000/1.5m pair) use “analog domain laser and fiber optic technology” to convert the audio signal to light pulses and back again.

RSL Speaker Systems is a direct-sales only company, started by speaker designer Howard Rodgers, the head honcho of 1980s retailer/speaker manufacturer Rogersound Labs. RSL was showing the CG Stereo System speakers ($1250/pair including a Speedwoofer 10 subwoofer, stands optional) that use its "patented Compression Guide Technology," which appears to be concerned with eliminating cabinet resonance and helps make a subwoofer speedy. RSL refers to this system as a "2.1 approach" (sub/satellite) and they believe that this configuration allows for optimum placement/room integration. In fact, the subwoofer we were hearing was not the one we were seeing—the Speedwoofer 10 (also available separately for $750) up front was on static display while the one in-use was hidden under a table on the opposite wall. RSL was using the PrimaLuna ProLogue Two integrated amp ($1999), which delivers 40Wpc from a quad of KT-88s, and the Acoustic Research CD5 ($5995).

Tonian Acoustics was showing its new loudspeaker, the TL-S1 ($4300/pair as shown and up to $5700/pair with alnico magnet and custom veneer), which uses a modified SEAS driver run full-range augmented with a modified Fountek ribbon tweeter in a semi-open baffle. The speaker comes with several panels that allow more or less sound through an opening in the back of the cabinet, thus the "semi-open" aspect. Driving the TL-S1s were a relatively modest pair of vintage 1980s components—the Audiolab 8000 integrated amp and the Magnavox 650 CD player. The system was wired with Tonian Acoustics cable, which is a copper, bronze, and brass composite with cotton insulation (8' speaker cable $480/pair, 1m interconnect $380/pair and power cords $370). Contrary to what you might expect from '80s-era digital (read harsh) and solid-state, this system was relaxed, smooth and easy to listen to.

Monster partnered with members of the Miles Davis family, Sony, and J&R Electronics to commemorate music icon Miles Davis’ 85th birthday at J&R’s downtown New York City location. Pictured (left to right): Rachelle Friedman, J&R Electronics co-founder; Erin Davis, Miles Davis Properties, LLC; Greg Pedersen, Monster Marketing & Brand Alliances; Anthony Ellis, Sony VP Urban Sales & Marketing; Noel Lee, “Head Monster”; Vince Wilburn, Miles Davis Properties, LLC. Photo: Dan Dion.

Last Thursday, May 26th, I attended an excellent dinner at the Tribeca Grill, hosted by the Miles Davis Family, Sony, J&R Electronics, and Monster, in celebration of Miles Davis’ 85th birthday. During the event, which included a heartfelt remembrance from Miles’ nephew, drummer Vince Wilburn, members of the press were given an introduction to Monster’s Miles Davis Trumpet in-ear headphone. (We were also treated to birthday cake!)

Wilburn offered a simple yet charming sketch of his uncle: “Miles was the type of guy who would change his clothes six times a day just because he got bored. He was never satisfied, always on to the next thing,” he said, with a chuckle and a sigh.

He then talked about the genesis of his family’s relationship with Noel Lee, Monster’s CEO, “The Head Monster”:

If you measure success as confusing people, provoking discussions, evoking strong feelings, keeping listeners off balance, creating opposing camps, having the same record hated and loved by equal minorities, then Circuital by My Morning Jacket is already a big hit.

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.).