Stuff is happening faster than I can responsibly blog. So fast and far and wide, in fact, it makes me wonder if it's actually happening at all. You know how it is when you learn a new word and you suddenly begin hearing that word <i>everywhere</i>?
Thiel is one of those loudspeaker manufacturers, like Spica and Dahiquist, among others, that pay close attention to detail.
As the May issue was being put to bed, the Internet was all aflutter over a proposal by digital strategy consultant Jim Griffin to have Internet Service Providers (ISPs) levy a $5 surcharge—a "network licensing model"—on all broadband users. Under this model, Griffin proposes that ISPs collect the fee, which would then be paid into a pool to "compensate music-copyright holders." Griffin says that consumers who do not download digital music files would not be forced to pay the surcharge, but that he anticipates "70–80% would pay" for all the content they could download.
Similarly, hi-end audio is a selfless act. We are workers for the world of music and its performers. The thousands of dollars that audiophiles spend on monstrous loudspeakers and thick, slick cables are not shameless self-indulgences, but expressions of grand devotion to the recreation of an expression, an emotion, a feeling! To truly take someone's words to heart. To find yourself in someone else's soundstage. To give yourself away and believe in somebody else's dreams instead of your own.
These days I often have to stop myself and remember again that I need to write about music and not just the incredibly weird situation in which today's music business is both dying and rising from the ashes simultaneously.
Marque sus calendarios, vinyl lovers. While I was at Iris Records on Saturday, I learned of the upcoming Brooklyn Record Riot (!!).
<B>JENNY SCHEINMAN: <I>Jenny Scheinman</I></B><BR>
Koch KOC-AD-4483 (CD). 2008. Jenny Scheinman, Tony Scherr, prods.; Scherr, eng. AAD? TT: 53:26<BR>
Performance ****<BR>
Sonics ****
I ran into Ashley over the weekend. She had the baby with her. It had been some time since last I saw them—about a year, in fact. It was good to see them.
Reader Mike Agee asks: "I'd like to hear about great audio products that have managed to go under-reviewed in the audio press. I realize there are many reasons why this might happen, from manufacturer reluctance [to submit review samples] to bad timing in the marketplace, but we all know there are a real winners out there that never made a recommended list."
I've been musing much of late on what enables some hi-fi components to sound natural while others always seem to add an edge of artificiality to their sound. This dichotomy was examined in last month's "<A HREF="http://www.stereophile.com/asweseeit/109">As We See It</A>," where I asked a representative group of <I>Stereophile</I> writers to discuss the fact that many high-end components regarded as being neutral in their sonic character, with apparently little wrong in their measured performance, can actually sound quite unmusical. This would seem to suggest that the <I>nature</I> of what a component does wrong is of greater importance than the <I>level</I> of what it does wrong: 1% of one kind of distortion can be innocuous, even musically appropriate, whereas 0.01% of a different kind of distortion can be musical anathema.