Interviews

Billy Drummond is a world-class jazz musician who listens to music on what he describes as "high-performance playback equipment." Drummond has not one, but three, working systems in his cozy New Jersey home, each one lovingly tweaked, carefully positioned and closely maintained to reach optimal playback efficiency.

This tale might have been scripted by Barry Levinson, the Baltimore-bred filmmaker who has set four pictures in his hometown, where much of the Sandy Gross story has also taken place. The young Sanford Gross moved there to attend Johns Hopkins University, and subsequently, in one of the city's Civil War–era houses, got Polk Audio rolling with fellow alumni Matthew Polk and George Klopfer. The company flourished, but Gross, who had minored in film at Hopkins, had an itch for Hollywood. He moved to Los Angeles, only to find the movie business tinged with illusion—much as Billy Wilder and Charles Brackett had portrayed it in Sunset Boulevard, their merciless 1950 film noir. So Gross plotted a new scenario, returned to Baltimore, and re-entered an industry committed to low distortion.

In conversation with Bonnie Raitt these days, one word continually jumps out: groove. She's speaking of her music, of course, but the blues singer and guitarist—her gifts as commanding as ever on her latest, Dig In Deep—has also survived some family struggles in the past decade that nearly forced her out of her personal groove.

As part of his preparation for reviewing Merging Technologies' NADAC Multichannel-8 networked D/A processor in the March 2016 issue of Stereophile, Kal Rubinson talked with the Swiss company's Dominique Brulhart.

"With all due respect, what the hell is the matter with you?"

Over the years, I've felt obligated to ask this question of several friends who somehow concluded that their life's work involved founding a record label.

"That is the best question isn't it?" Shane Buettner said with a big laugh. "Why do I want to hurt myself this badly and spend a lot of money doing it?" He smiled again, with a mild shake of the head.

"Actually, yes—that's exactly what I mean."

"I'm still in shock," Reference Recordings recording engineer Sean Martin blurted out during a conference call with his recording engineer stepfather, Keith O. Johnson. "When Jan Mancuso woke me up at 5:30 or 6 to tell me the news, I couldn't imagine who would be calling so early," was Johnson's follow up.