LATEST ADDITIONS

It’s rare that a live concert captures the mind-bending joy of mainstream post-War jazz. (Recitals of the bebop repertory tend toward the worshipfully literal, like museum pieces.) But just such a rare experience was had last night at Smalls, the convivial (and, yes, small) jazz club in the West Village, where pianist Ethan Iverson played standards with a trio that featured Albert “Tootie” Heath on drums.

It's really serious. I mean, in the beginning, you might give yourself a $25 spending limit, knowing very well that you'll find a little spot on the floor, alongside several others who'll be furiously rifling through the dollar bins. You'll almost certainly come away with a nice little stack of a dozen or so beautiful vinyl LPs. And that's all you'll need, really. That's all you'll need.

<embed src="http://media.mtvnservices.com/mgid:uma:video:mtv.com:53843&quot; width="450" height="319" type="application/x-shockwave-flash" flashVars="configParams=vid%3D53843%26uri%3Dmgid%3Auma%3Avideo%3Amtv.com%3A53843%26startUri={startUri}" allowFullScreen="true" allowScriptAccess="always" base="."></embed>

Audiophile websites cover every niche of the hobby, and new ones are always fun to find. Are there any worthy audiophile links that <I>Stereophile</I> readers may not be aware of?

When I taught a recording engineering program at a California college, one of my first responsibilities to new students was to clarify for them what recording engineering was <I>really</I> about. Many of them entered the program with the impression that recording was nonstop glamor, with a significant part of the job devoted to partying with their favorite rock bands. It was my job to tell them the bad news: Recording was more about lying on your back underneath a recording console on a dirty studio floor with hot solder dripping on your face.

Over the years, I have become increasingly impressed by the quality of the audio engineering emanating from Simaudio, which next year celebrates its 30th anniversary. In a world where the US facilities of some well-known audio brands have been reduced to a design office coupled to a warehouse for storing product manufactured overseas, this Montreal-based manufacturer, in order to keep full control over quality and hence reliability, does as much manufacturing as possible in-house, including metalwork, some printed circuit-board stuffing, and assembly. (See my photo essay starting <A HREF="http://forum.stereophile.com/photopost/showphoto.php/photo/856">here</A…;.)

During a century of development of the phonograph, dozens of different things have been considered crucial to its performance: lack of bearing noise, lack of motor noise, freedom from runout error in the platter, high moment of inertia in same, immunity to all manner of unwanted vibration, and so forth. But now I wonder if the most important factor of all hasn't been overlooked, or at least misunderestimated, throughout much of that time: Could it be that motor <I>torque</I> is more critical than any of us imagined?